Technical Data - DigitalTruth Photo Source
Technical Data - DigitalTruth Photo Source Technical Data - DigitalTruth Photo Source
d otospeed Fotospeed Fotospeed Fotospeed Fotospeed Fotospeed Fotospeed Fotospeed Fotospeed Fotospeed Fotospeed Fotospeed Fotospeed Fotospeed Fotospeed Fotospeed Fotospeed Fotospeed Fotospeed Fotospeed Fotospeed Fotospeed Fotospeed Fotospeed Fotospeed Fotospeed ® Product Range TECHNICAL DATA BOOKLET Fotospeed Fotospeed Fotospe RTBFoto 1999 - 2000
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Fotospeed ®<br />
Product Range<br />
TECHNICAL DATA BOOKLET<br />
Fotospeed<br />
Fotospeed<br />
Fotospe<br />
RTBFoto<br />
1999 - 2000
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INTRODUCTION<br />
We are pleased to once again reaffirm our commitment to the<br />
photographer’s art and within the pages of this, the latest issue of<br />
our <strong>Technical</strong> <strong>Data</strong> Booklet you will find many new and innovative<br />
products have been added to our range of black and white chemistry and<br />
B&W Papers.<br />
Our B&W Papers now include an RCVC paper in Glossy and Oyster surfaces,<br />
an FBVC paper and a LITH paper specifically made for Lith Printing. There<br />
will also soon be an RCVC paper with a warmtone base bringing the range<br />
of Fotospeed papers to no less than seven! including Tapestry and Fotolinen.<br />
Added to the range of B&W chemistry is WT10 Warm Tone Developer which<br />
unlike all the others maintains the contrast of the print. Our Grade Select<br />
Print Developer will be available from April onwards. This is an unique<br />
developer which, using the development process enables the user to change<br />
the contrast of the paper through the chemistry.<br />
For the digital photographer we have launched a specialist range of <strong>Photo</strong><br />
Quality Inkjet Papers which deliver the highest quality ink jet image and have<br />
the traditional feel of a fine art print. Artist Classic being our flagship.<br />
As well as detailed technical data on all Fotospeed products you will find a<br />
wealth of useful printing and processing information and of course our<br />
extensive guide to toning.<br />
As Fotospeed continues to expand its product range, availability (worldwide<br />
our products are now available in 32 countries) couldn’t be easier. Your local<br />
dealer can obtain any product for you but if you have any difficulties with<br />
supply phone our Customer Service Department who will be happy to assist.<br />
Our customers’ satisfaction is still our driving force, so if you need any<br />
further technical information or if you have any query about any of our<br />
products then please ‘phone me direct on 01225 811622 and I will be happy<br />
to help.<br />
John Herlinger<br />
Managing Director<br />
JAY HOUSE LTD. T/A Fotospeed<br />
Fiveways House, Rudloe, Corsham, Wiltshire SN13 9RG., England.<br />
Tel: +44 (0)1225 810596 Fax: +44 (0)1225 811801<br />
e-mail: fotospeed_UK@compuserve.com<br />
web site: http://www.Fotospeed.com (active mid March ‘99 onwards)
CONTENTS<br />
Fotospeed<br />
Fotospeed<br />
Fotospeed<br />
Fotospe<br />
Fot<br />
B&W CHEMISTRY<br />
FD10 Fine Grain One Shot Film Developer 4<br />
FD30 Push Process Film Developer 5<br />
PD5 Print Developer 6<br />
DV10 Varigrade Print Developer 6<br />
LD20 Lith Developer 6<br />
LSK10 Lith Printing Starter Kit 6<br />
GSD10 Grade Select Print Developer 6<br />
WT10 Warm Tone Print Developer 7<br />
FX20 Super Rapid Fixer 7<br />
FX30 Odourless Fixer 7<br />
RH100 Rapid Hardener 7<br />
SB40 Indicator Stop Bath 7<br />
SB50 Odourless Indicator Stop Bath 7<br />
RA50 Super Rinse Aid 8<br />
WA50 Wash Aid 8<br />
B&W MACHINE CHEMISTRY<br />
CD11 Varigrade Machine Developer 8<br />
CF41 Varigrade Machine Fixer 8<br />
DF4 Non Replenish Developer & Fixer 8<br />
B&W FILM<br />
Fortepan B/W film 8<br />
B&W PRINTING TIPS 9<br />
Tips and techniques by Les McLean<br />
ALTERNATIVE PROCESSES<br />
ARGYRO Argyrotype Process Kit & Sensitiser 13<br />
CYANO Cyanotype Process Kit & Sensitiser 13<br />
BROMOIL Bromoil Process Kit 13<br />
RODS Glass Coating Rods 13<br />
FRAMES Contact Frames with Hinged Backs 13<br />
ALTERNATIVE PROCESS TIPS 14<br />
TONERS AND DYES<br />
PALETTE Palette Toner 15<br />
ST20 Odourless Variable Sepia Toner 15<br />
ST10 NON Vario Odourless Sepia Toner 16<br />
COTTS Finger ‘Condoms’ 16<br />
AD10 Antique Dye 16<br />
RT20 Copper/Red Toner 16<br />
BT20 Blue Toner 17<br />
SLT20 Selenium Toner 17<br />
GT20 Green Toner 18<br />
AU20 Gold Toner 18<br />
DY15 Fotodyes 18<br />
DY10 B&W Retouch Kit 19<br />
MK50 Fotomask 19<br />
MKS50 Fotomask Brush Cleaner 19<br />
TONING HINTS 20<br />
B&W PAPERS<br />
TAPESTRY B&W Fibre Paper 10<br />
RCVC Resin Coated Variable Contrast 10<br />
FBVC Fibre Based Variable Contrast 10<br />
LITH Fibre Based Lith Paper 10<br />
FOTOLINEN B&W <strong>Photo</strong>graphic Linen 10<br />
LE30 LIQUID EMULSION 22<br />
SUNDRIES<br />
FC50 Film Cleaner 22<br />
FR10 Farmers Reducer 22<br />
CI10 Chromium Intensifier 22<br />
COLOUR CHEMISTRY<br />
CK3E6 3 Bath E6 Process Kit 11<br />
CKRA4 RA4 Colour Print Chemistry 35 o C 11<br />
CKRA4/RT MONO RA4 Room Temperature 11<br />
CKR3/RT Transformer Kit. Converts CKRA4/RT into R3 11<br />
PKC41 C41 Negative Film Processing Kit 12<br />
CPS100 Colour Print Brightener & Stabiliser 12<br />
CKFP Universal Colour Chemistry Kit - Film & Paper 12<br />
CB15 Colour Print Retouch Bleacher 12<br />
INKJET PAPERS - PHOTO REALISTIC<br />
ARTIST<br />
CLASSIC Textured Art 23<br />
PREMIUM<br />
GLOSS Instant Dry 23<br />
PREMIUM<br />
MATT Matt Paper 23<br />
BELGIAN<br />
LINEN Textured Linen 23<br />
OHP<br />
FILM Display Film 23<br />
Product Range Fotospeed 3
ed<br />
tospeed<br />
Fotospeed<br />
Fotospeed<br />
Fotospeed<br />
Fotospeed<br />
Fotospeed<br />
Fotospeed<br />
B&W CHEMISTRY<br />
BLACK AND WHITE<br />
Fotospeed B&W Chemistry is designed to be second to none<br />
and we believe we have accomplished this. If you need advice<br />
about an equivalent Fotospeed product compared to your<br />
existing chemistry, then phone for good solid advice on 01225<br />
810596. We are always happy to help.<br />
FD10<br />
Fine Grain One<br />
Shot Film<br />
Developer<br />
Concentrate<br />
Code<br />
FS02110<br />
FS02120<br />
FS02130<br />
FS02140<br />
Size<br />
250 mls<br />
500 mls<br />
1 Ltr<br />
5 Ltrs<br />
SEE OUTSIDE<br />
BACK COVER FOR<br />
FILM PROCESSING<br />
TIME / TEMP.<br />
CHART<br />
Fotospeed FD10 is a fine grain black & white film developer concentrate giving rated film speed and the high<br />
edge sharpness expected from solvent type developers. It is a one shot developer which gives identical results<br />
on each occasion with the need to store stock solution eliminated.<br />
MIXING INSTRUCTIONS<br />
Fotospeed FD10 concentrate should be diluted by measuring<br />
the required amount of concentrate into a measure and<br />
adding water to the required volume. Two dilution ratios are<br />
given. Dilute either 1+9 or 1+14 at 20ºC. Normal tank<br />
practice should be followed for agitation ensuring that the<br />
tank is tapped on the bench after filling with developer to<br />
dislodge any air bubbles that may adhere to the film. Normal<br />
contrast refers to the use of enlargers fitted with a condenser<br />
lamphouse, and high contrast refers to the use of enlargers<br />
fitted with a diffuser or colour mixing head.<br />
ROTARY DRUM PROCESSORS<br />
FD10 is suitable for rotary drum use. Due to continuous<br />
agitation, processing times should be reduced by 15% to<br />
those published.<br />
STORAGE<br />
A full tightly capped bottle of Fotospeed FD10 will keep for at<br />
least one year and a half full bottle for about four months.<br />
The following table gives a GUIDE for processing times. Tests should be carried out to ensure the contrast obtained<br />
at these times is suited to the enlarger light source. Contrast can be increased by extending the processing times<br />
over those published. If in doubt to the suitability of a time shown for a particular film then we recommend that<br />
you make a clip test by cutting a short length off the film to be processed and process the piece to test.<br />
FD10 1+9 @ 20ºC<br />
CONTRAST REQUIRED<br />
NORMAL<br />
HIGH<br />
FD10 1+14 @ 20ºC<br />
CONTRAST REQUIRED<br />
NORMAL<br />
HIGH<br />
FILM<br />
MINUTES MINUTES MINUTES MINUTES<br />
AGFA PAN APX400 7 10 12 19<br />
AGFA PAN APX100 5 9 11 16<br />
AGFA PAN APX25 4 8 10 14<br />
FUJI NEOPAN 1600 10 12 14 22<br />
FUJI NEOPAN 400 10 12 14 22<br />
KODAK TRI X 400 9 11 13 21<br />
KODAK PLUS X 125 7 8 10 15<br />
KODAK TECH. PAN 25 4 6 7 9<br />
KODAK TMAX 3200 13 15 17 22<br />
KODAK TMAX 400 11 13 15 21<br />
KODAK TMAX 100 9 11 13 20<br />
KODAK PANCHROMATIC 200 10 13 16 21<br />
ILFORD DELTA PROFESSIONAL 3200 11 13 14 20<br />
ILFORD DELTA PROFESSIONAL 400 8 10 12 19<br />
ILFORD DELTA PROFESSIONAL 100 7 9 13 17<br />
ILFORD HP5 PLUS 400 7 10 11 16<br />
ILFORD FP4 PLUS 125 6 8 9 12<br />
ILFORD PAN F PLUS 50 4 5 6 8<br />
ILFORD SFX200 10 12 14 17<br />
FORTEPAN 400 7 10 11 16<br />
FORTEPAN 100 6 8 9 12<br />
ACUPAN 800 9 11 13 20<br />
ACUPAN 200 6 8 9 12<br />
JESSOP PAN 400 6 8 9 12<br />
JESSOP PAN 100 5 7 8 11<br />
INFRA-RED FILM<br />
KODAK INFRA-RED 12 - - -<br />
KONICA INFRA-RED 11 - - -<br />
4 Fotospeed Product Range
Fotospeed FD30 is a liquid concentrate black & white film developer suitable for manual and machine<br />
processing which permits an increase in film speed rating by up to three stops within acceptable processing<br />
times. Edge sharpness and shadow detail are retained over the range with no appreciable increase in grain<br />
size. Rated film speed is achieved with a short processing time at the higher dilution. An increase in film speed<br />
and contrast is achieved by a combination of extended processing times and/or reduced dilution. A slight<br />
increase in normal background density may be experienced at the highest speed rating but final prints will<br />
exhibit good tonal qualities throughout the range.<br />
B&W CHEMISTRY<br />
FD30<br />
Fine Grain<br />
Push Process<br />
Film Developer<br />
Fotospeed<br />
Fotospeed<br />
Fotospeed<br />
Fotospe<br />
Fot<br />
MIXING INSTRUCTIONS<br />
Fotospeed FD30 concentrate should be diluted by measuring<br />
the required amount of water into a measure and adding<br />
FD30 concentrate to the required volume. We recommend<br />
that the bottle be inverted three times prior to pouring. Three<br />
dilution ratios are given. Dilute either 1+9, 1+7 or 1+5 at 20ºC<br />
and follow normal tank practice for agitation ensuring that the<br />
tank is tapped on the bench after filling with developer to<br />
dislodge any air bubbles that may adhere to the film.<br />
DEEP TANK PROCESSING<br />
Fotospeed FD30 concentrate is suitable for deep tank use. A<br />
dilution of 1+9 provides the flexibility to process a wide<br />
variety of manufacturers’ film types at rated film speed with<br />
the option to push process up to 3 stops. In the deep tank<br />
situation processing times should be increased by 10% over<br />
those published. The solution should be replenished at the<br />
rate of 20ml per 135/36 Exp, 120 roll or 8x10in sheet at a<br />
dilution of 1+7. This can be done every ten films.<br />
ROTARY DRUM PROCESSORS<br />
Fotospeed FD30 is suitable for rotary drum use. Due to its<br />
continuous agitation, processing times should be reduced by<br />
15% to those published.<br />
STORAGE<br />
A full capped bottle of Fotospeed FD30 will keep for up to 2<br />
years and a half full bottle for about 6 months<br />
Concentrate<br />
Code<br />
FS02310<br />
FS02320<br />
FS02330<br />
FS02340<br />
Size<br />
250 mls<br />
500 mls<br />
1 Ltr<br />
5 Ltrs<br />
SEE OUTSIDE<br />
BACK COVER FOR<br />
FILM PROCESSING<br />
TIME / TEMP.<br />
CHART<br />
The following table gives a GUIDE for processing times. Tests should be carried out to ensure the contrast obtained<br />
at these times is suited to the enlarger light source. Contrast can be increased by extending the processing times<br />
over those published. If in doubt to the suitability of a time shown for a particular film then we recommend that<br />
you make a clip test by cutting a short length off the film to be processed and process the piece to test.<br />
ALL @ 20ºC, FD30 FD30 FD30 FD30 FD30 FD30<br />
TIMES IN MINUTES SPEED 1+9 1+7 1+5 SPEED 1+9 1+7 1+5<br />
AGFA PAN 400 @ 400 5 * *<br />
@ 800 8 7 5<br />
@ 1600 11 10 8<br />
@ 3200 17 15 12<br />
AGFA PAN APX100 @ 100 6 5 *<br />
@ 200 10 8 7<br />
@ 400 15 12 10<br />
AGFA PAN APX25 @ 25 5 * *<br />
@ 50 7 5 *<br />
@ 100 10 8 6<br />
FUJI NEOPAN 1600 @1600 7 5 4<br />
@ 3200 10 8 7<br />
@ 6400 15 12 10<br />
FUJI NEOPAN 400 @ 400 5 * *<br />
@ 800 7 5 *<br />
@ 1600 10 7 5<br />
@3200 15 10 8<br />
KODAK TRI-X 400 @ 400 6 5 4<br />
@ 800 9 7 5<br />
@ 1600 15 10 8<br />
@ 3200 23 16 12<br />
KODAK PLUS-X @ 125 5 4 3<br />
@ 250 7 6 4<br />
@ 500 13 9 7<br />
@ 1000 20 15 11<br />
KODAK TMAX 3200 @ 3200 9 7 5<br />
@ 6400 14 11 8<br />
@ 13800 21 12 10<br />
KODAK TMAX 400 @ 400 6 5 4<br />
@ 800 9 7 5<br />
@ 1600 15 10 8<br />
@3200 23 16 1<br />
KODAK TMAX 100 @ 100 5 1 /2 4 *<br />
@ 200 6 5 4<br />
@ 400 8 7 6<br />
@ 800 11 9 7<br />
@1600 16 14 11<br />
@3200 20 18 16<br />
KODAK TECHPAN 25 @ 25 3 * *<br />
@ 160 10 8 7<br />
KODAK RECORDING FILM 2475 8 * *<br />
LFORD DELTA PROFESSIONAL 3200 @ 3200 9 6 1 /2 5<br />
@ 6400 14 10 8<br />
@12800 21 15 11<br />
ILFORD DELTA PROFESSIONAL 400 @ 400 9 6 1 /2 5<br />
@ 800 13 9 7<br />
@1600 19 13 10<br />
@ 3200 * 20 15<br />
ILFORD DELTA PROFESSIONAL 100 @ 100 7 6 4<br />
@ 200 10 8 6<br />
@ 400 15 13 10<br />
@ 800 23 20 15<br />
ILFORD SFX200 @ 200 7 1 /2 6 4 1 /2<br />
@ 400 12 9 7<br />
@ 800 17 14 11<br />
@1600 25 20 16<br />
@3200 * * 24<br />
ILFORD HP5 PLUS 400 @ 400 6 5 4<br />
@ 800 9 7 5<br />
@1600 15 10 8<br />
@3200 22 16 12<br />
@6400 * 24 18<br />
ILFORD FP4 PLUS 125 @ 125 5 4 3<br />
@ 250 7 6 4<br />
@ 500 13 9 7<br />
@1000 * 15 11<br />
ILFORD PAN F @ 50 5 4 3<br />
@ 100 7 6 5<br />
FORTEPAN 400 @ 400 6 5 4<br />
@ 800 9 7 5<br />
@1600 15 10 8<br />
@ 3200 14 12<br />
FORTEPAN 100 @ 100 5 4 3<br />
@ 200 7 6 4<br />
@ 400 13 9 7<br />
@ 800 * 15 11<br />
JESSOP PAN 400 @ 200 5 4 3<br />
@ 400 7 6 4<br />
@ 800 13 9 7<br />
@1600 * 15 11<br />
JESSOP PAN 100 @ 100 6 4 *<br />
@ 200 9 6 4<br />
* = NOT RECOMMENDED<br />
Product Range Fotospeed 5
ed<br />
tospeed<br />
Fotospeed<br />
Fotospeed<br />
Fotospeed<br />
Fotospeed<br />
Fotospeed<br />
Fotospeed<br />
B&W CHEMISTRY<br />
PD5<br />
Universal Print<br />
Developer<br />
Concentrate<br />
Code<br />
FS02510<br />
FS02520<br />
FS02530<br />
FS02540<br />
Size<br />
250 mls<br />
500 mls<br />
1 Ltr<br />
5 Ltrs<br />
DV10<br />
Varigrade Print<br />
Developer<br />
Concentrate<br />
Code<br />
FS02710<br />
FS02720<br />
FS02730<br />
FS02740<br />
Size<br />
250 mls<br />
500 mls<br />
1 Ltr<br />
5 Ltrs<br />
LD20<br />
Lith Developer<br />
Fotospeed PD5 print developer is a phenidone/hydroquinone developer concentrate designed for black and<br />
white paper both resin coated and fibre based. PD5 is also suitable for processing sheet film.<br />
MIXING INSTRUCTIONS<br />
Paper: For resin coated and fibre based papers dilutions of<br />
either 1+9 or 1+4 may be selected according to conditions<br />
outlined below.<br />
DILUTION TEMPERATURE DEVELOPMENT TIME<br />
1+9 20 90-120 SECONDS<br />
1+4 20 45-75 SECONDS<br />
Film: A wide range of sheet film can be processed in<br />
Fotospeed PD5 where subsequent enlargement is limited. A<br />
dilution of 1+9 should be used and a development time of 4<br />
minutes at 20ºC with continuous agitation should be<br />
regarded as a starting point.<br />
CAPACITY<br />
The following table is for use with resin coated or fibre based<br />
paper<br />
STORAGE<br />
A full tightly capped bottle of Fotospeed PD5 will keep for<br />
one year and a half full bottle for about four months. During<br />
use, Fotospeed PD5 will keep in good condition for about 24<br />
hours in an open dish and for about one week in a deep tank<br />
with floating lid.<br />
Fotospeed DV10 is a varigrade dish PQ developer formulated to give a short induction time in dish use to<br />
permit the rapid processing of resin coated papers where development is completed in 60 seconds<br />
MIXING INSTRUCTIONS AND USE<br />
DV10 should be diluted 1+9 with water and ideally used at<br />
20ºC. The image will appear in 5-10 seconds and<br />
development completed in 60 seconds. Development time<br />
can be reduced to compensate for over exposure but<br />
immersion time should not be shorter than 30 seconds.<br />
Alternatively, development time can be extended to<br />
compensate for under exposure. However, to obtain perfect<br />
tonal range the correct exposure is preferable.<br />
DILUTION<br />
20X25CM SHEETS/LTR.<br />
1+9 50<br />
1+4 70<br />
CAPACITY<br />
50 sheets of 8x10in paper can be processed in 1Ltr of DV10<br />
working solution diluted at 1+9.<br />
STORAGE<br />
A full tightly capped bottle of Fotospeed DV10 will keep for<br />
one year and a half full bottle for about four months. During<br />
use, Fotospeed DV10 will keep in good condition for about<br />
24 hours in an open dish and for about one week in a deep<br />
tank with floating lid.<br />
Fotospeed LD20 is supplied as a two part concentrate which dilutes to make a single working solution.<br />
Particularly efficient for infectious development of papers such as, Fotospeed LITH, Fotospeed Tapestry and<br />
Kentmere Kentona. Supplied with full instructions on lith printing.<br />
To make<br />
Code<br />
FS02420<br />
Size<br />
4 Ltrs Min.<br />
MIXING INSTRUCTIONS<br />
Fotospeed LD20 is supplied as A+B concentrates (500ml of<br />
each). Each Part dilutes 1+3 with water before being mixed<br />
together to form the working solution. For infectious<br />
development of papers the working solution should be<br />
further diluted to achieve the desired effect of grittiness and<br />
tint. LD20 comes with full instructions for lith printing and<br />
includes suppressants for ‘pepper fogging’. For typical lith<br />
printing, where further dilution is required, this kit will make<br />
10Ltrs of working solution.<br />
STORAGE<br />
LD20 will keep for at least two years in unopened bottles.<br />
Once opened the contents should be used within two months.<br />
TEST<br />
TUBE<br />
LSK10<br />
Lith Printing<br />
Starter kit<br />
Designed for those wanting to try lith printing. LSK10 comes complete with Fotospeed Lith Paper (10shts<br />
8x10in) and LD20 Lith Developer (to make 3Ltrs at 1+9 dilution) along with concise lith printing instructions to<br />
guide the first time lith printer through the maze. For those who get bitten by the lith printing bug then there<br />
are the big size papers and bigger size lith developer.<br />
Code<br />
FS02410<br />
Paper & chem<br />
GSD10<br />
Grade Select<br />
Print Developer<br />
Concentrate<br />
Code<br />
FS02630<br />
Size<br />
1 Ltr<br />
Fotospeed Grade Select does exactly what the name says. You can select the grade of paper with the developer.<br />
Grade Select enables you to make a fixed grade paper into a variable grade paper through the dilutiuon<br />
and mixture of the developer. A typical fixed grade paper with a grade of 2.5 can through development be<br />
taken from grade 0 to 4. Grade select can also be used as a two bath prnt developer.<br />
Grade Select is supplied as two 1Ltr concentrated solutions.<br />
One a hard developer and the other a soft developer. Each<br />
can be used as a single developer (hard or soft), or mixed as<br />
a single solution for the grade required. Dilution is simple with<br />
a concise table for selection.<br />
6 Fotospeed Product Range
Fotospeed WT10 is a warm tone print developer that maintains the contrast and vibrancy of the image and<br />
gives it a warm tone. It also has a good capacity and a long shelf life making it a superior product.<br />
MIXING INSTRUCTIONS<br />
Dilute WT10 1+9 with water to make the working solution.<br />
Processing times are 90 seconds for both RC and FB material.<br />
Fixation is recommended at 1+4 for FX20 Rapid Fixer -<br />
30 seconds for RC and 60 seconds for FB. Wash as normal.<br />
STORAGE<br />
WT10 will keep in good condition for at least one year in<br />
sealed containers. Working solution will keep for several days<br />
in tightly capped bottles with the minimum of air.<br />
B&W CHEMISTRY<br />
WT10<br />
Warm Tone<br />
Developer<br />
Concentrate<br />
Code<br />
FS02230<br />
Size<br />
1 Ltr<br />
Fotospeed<br />
Fotospeed<br />
Fotospeed<br />
Fotospe<br />
Fot<br />
Fotospeed FX20 Rapid Fixer is a general purpose liquid fixer concentrate that has no hardener added and is<br />
suitable for use with a wide range of B&W photographic materials. FX20 is very long lasting and will not, as<br />
with other brands of fixer, bleach back the print’s highlights where extended fixing times are desirable.<br />
Where a hardening fixer is required then add RH100 Rapid Hardener to the fixer working solution.<br />
FILM FIXING<br />
Dilute the FX20 1+9 with water and fix for 2 minutes or 1+4<br />
with water for 1 minute. When the clearing time exceeds<br />
twice that of fresh fixer then the fixer should be discarded.<br />
PAPER FIXING 1+9 1+4<br />
RC 60 SECS 30SECS<br />
FB 3 MINS 60SECS<br />
STORAGE<br />
FX20 will keep in good condition for at least one year in<br />
sealed containers. Working solution will keep for several<br />
months in tightly capped bottles with the minimum of air.<br />
During use FX20 will keep in good condition for about one<br />
week in the open dish and for about two months in a deep<br />
tank with a floating lid.<br />
FX20<br />
Super Rapid<br />
Fixer<br />
Concentrate<br />
Code<br />
FS03110<br />
FS03120<br />
FS03130<br />
FS03140<br />
Size<br />
250 mls<br />
500 mls<br />
1 Ltr<br />
5 Ltrs<br />
Fotospeed FX30 is an odourless fixer suitable for all B&W materials. Standard dilution is 1+9. Makes for a<br />
pleasant working environment. The use of stop bath is recommended to extend the life of the fixer. Why not<br />
use Fotospeed SB50 odourless stop bath with indicator?<br />
FX30<br />
Odourless Fixer<br />
DILUTION/TIME (MINS) TABLE<br />
RC FB FILM<br />
1+4 1 3 2<br />
1+7 2 5 3<br />
1+9 3 7 5<br />
STORAGE<br />
FX30 will keep in good condition for at least one year in<br />
sealed containers. Working solution will keep for several<br />
months in tightly capped bottles with the minimum of air.<br />
During use FX30 will keep in good condition for about 3 days<br />
in the open dish.<br />
Concentrate<br />
Code<br />
FS03430<br />
FS03440<br />
Size<br />
1 Ltr<br />
5 Ltrs<br />
Fotospeed RH100 is a rapid hardener concentrate designed for use with Fotospeed FX20 Rapid Fixer where a<br />
hardening fixer solution is required. RH100 will greatly improve the appearance of the film by minimising<br />
surface damage and reducing drying marks. RH100 checks the swelling of the film emulsion so that it is less<br />
easily damaged and reduces water absorption by the film emulsion so that drying is faster.<br />
MIXING INSTRUCTIONS<br />
RH100 should be added to working strength FX20 Rapid Fixer<br />
at the rate of 15mls /Ltr of working strength fixer. The<br />
addition of hardener will require the fixing time to be<br />
doubled. Never mix RH100 concentrate and Fixer<br />
concentrate together.<br />
STORAGE<br />
RH100 will keep for several years in an airtight bottle.<br />
Fotospeed SB40 Stop Bath is an acid stop bath incorporating an indicator dye to warn of exhaustion. Stop<br />
bath causes development to cease immediately on contact to ensure clear highlights in paper and low fog on<br />
film. The use of stop bath also ensures that the fixer is protected from carry-over from the developer<br />
ensuring optimum fixer life<br />
WARNING<br />
SB40 Stop bath should not be used beyond exhaustion and<br />
should be changed as soon as the colour change from<br />
yellow to purple is observed.<br />
MIXING INSTRUCTIONS<br />
The concentrate should be diluted 1+29 with water for use<br />
with both film and paper. Suitable for both B&W and Colour<br />
materials. Stronger or weaker dilutions can be used but 1+29<br />
is the optimum. Stop time - 10 secs at 20 o C<br />
STORAGE<br />
Fotospeed SB40 in full tightly capped bottles will last at least<br />
one year.<br />
RH100<br />
Rapid Hardener<br />
Concentrate<br />
Code<br />
FS03220<br />
Size<br />
500 mls<br />
SB40<br />
Indicator Stop<br />
Bath<br />
Concentrate<br />
Code<br />
FS04110<br />
FS04120<br />
FS04130<br />
FS04140<br />
Size<br />
250 mls<br />
500 mls<br />
1 Ltr<br />
5 Ltr<br />
Fotospeed SB50 is an odourless stop bath with indicator dye to warn of exhaustion. Makes for a more<br />
pleasant darkroom environment due to its odourless formula. SB50 dilutes 1+19 with water.<br />
WARNING<br />
SB50 Stop bath should not be used beyond exhaustion it should<br />
be changed when the yellow to blue colour change is observed.<br />
MIXING INSTRUCTIONS<br />
The concentrate should be diluted 1+19 with water for use<br />
with both film and paper Suitable for both B&W and Colour materials.<br />
Stop time - 20 secs at 20 o C. A natural compliment to FX30.<br />
STORAGE<br />
Fotospeed SB50 in full tightly capped bottles will last at least one<br />
year.<br />
SB50<br />
Indicator Stop<br />
Bath/ Odourless<br />
Concentrate<br />
Code<br />
FS04230<br />
FS04240<br />
Size<br />
1 Ltr<br />
5 Ltr<br />
Product Range Fotospeed 7
ed<br />
tospeed<br />
Fotospeed<br />
Fotospeed<br />
Fotospeed<br />
Fotospeed<br />
B&W CHEMISTRY/B&W MACHINE CHEMISTRY & FILM<br />
RA50<br />
Rinse Aid<br />
Fotospeed RA50 is a highly concentrated liquid designed to greatly reduce surface tension to allow the easy<br />
dispersion of water from the surface of photographic materials without damaging the emulsion. Used in the<br />
final rinse, it noticeably promotes streak free drying of film and shortens drying times.<br />
Concentrate<br />
Code<br />
FS05120<br />
Size<br />
500 mls<br />
MIXING INSTRUCTIONS<br />
RA50 should be added to the final rinse in the ratio of 1 part<br />
RA50 to 200 parts water. i.e. 5mls /Ltr of water.<br />
STORAGE<br />
RA50 concentrate will keep for several years in sealed bottles.<br />
WA50<br />
Wash Aid<br />
Concentrate<br />
Code<br />
FS05230<br />
CD11<br />
Machine<br />
Print<br />
Developer<br />
Concentrate<br />
Code<br />
FS02830<br />
FS02840<br />
CF41<br />
Machine<br />
Fixer<br />
Concentrate<br />
Code<br />
FS03330<br />
FS03340<br />
Size<br />
1 ltr<br />
Size<br />
1 Ltr<br />
5 Ltrs<br />
Size<br />
1 Ltr<br />
5 Ltrs<br />
WA50 is specifically designed to speed the removal of fixing agents from the fibres of the paper. Dilutes 1+9<br />
to make the volume required.<br />
INSTRUCTIONS<br />
After fully fixing the print, wash in running water for 5 mins.<br />
Then soak print in a tray of WA50 working solution for 10<br />
mins with intermittent agitation. Return print to running<br />
water for a final 5 mins then remove print to dry. Total<br />
Fotospeed CD11 & CF41 machine chemistry comprises a developer/replenisher and a fixer /replenisher and is<br />
supplied as a liquid concentrate. These chemicals are intended for use at normal rapid access processing<br />
temperatures (30-32ºC) where fully processed and dried prints can be viewed about 70 seconds after feed in.<br />
At machine processing temperatures CD11 developer gives similar speed, contrast and quality to that<br />
expected from conventional dish processing. However, as a system designed to be replenished, it may be used<br />
for several months before being replaced with fresh solutions.<br />
CD11 and CF41 are available in 1 litre concentrates for in use in Nova Slot and Durst Printo processors where the<br />
advantages of fast B/W print processing are desirable, but the requirement for 5 litre concentrates are not.<br />
MIXING INSTRUCTIONS<br />
CD11 developer and CF41 fixer are designed to be made up in<br />
the machine replenisher tanks. Care should be taken not to<br />
splash chemicals when mixing as this can lead to<br />
contamination.Dilute CD11 developer/replenisher 1+4 with<br />
water to make working strength developer. Dilute CF41<br />
fixer/replenisher 1+4 with water to make working strength fixer.<br />
washing time 20 mins and all fixer removed.<br />
1Ltr of working solution will treat approx. 40 - 8x10 fibre<br />
prints D/W.<br />
REPLENISHMENT<br />
This will vary according to the individual processing<br />
conditions, but the table below may be used as a guide.<br />
STORAGE<br />
Both CD11 and CF41 will keep for at least one year in sealed<br />
bottles.<br />
GUIDE TO REPLENISHMENT<br />
CD11 DEVELOPER REPLENISHER<br />
55ml/MINUTE (150mls/M 2 OF PROCESSED PAPER)<br />
CD41 FIXER REPLENISHER<br />
90ml/MINUTE (150mls/M 2 OF PROCESSED PAPER)<br />
The above values are equivalent to 15ml and 25ml of developer and fixer respectively, for every two 8x10in prints processed.<br />
DF4<br />
Non Replenish<br />
Developer and<br />
Fixer for 2150<br />
Dev. & Fix. Concentrate<br />
Code<br />
FS08220<br />
Size<br />
2x4Ltrs<br />
FORTEPAN<br />
B/W Film<br />
Film<br />
Code Size-(ISO) Pack<br />
FS43220 135/36-(100) 10<br />
FS44210 135/30m-(100) 1<br />
FS41220 120-(100) 10<br />
FS42310 5x4(25)-(200) 1<br />
FS43420 135/36-(400) 10<br />
FS44410 135/30m-(400) 1<br />
FS41420 120-(400) 10<br />
FS42410 5x4(25)-(400) 1<br />
Designed for use solely with the Ilford 2150 table top processors, DF4 comprises 4Ltrs of both Developer and<br />
Fixer concentrate ready to load into the machine. DF4 is available in 2x4Ltrs (4Ltrs developer and 4Ltrs fixer).<br />
The product will keep for at least two weeks in the machine.<br />
MIXING INSTRUCTIONS<br />
Pour the concentrate from each bottle into the respective<br />
tank in the machine and close the lid. The machine will<br />
automatically mix the chemistry.<br />
B&W FILM<br />
STORAGE<br />
DF4 chemistry will keep for one year in full tightly capped<br />
bottles.<br />
A high quality B&W film at a competitive price. Available in ISO100 and ISO400, this film gives fine grain with<br />
good edge sharpness and contrast. Shadow detail is well defined and the film gives good results even under<br />
3 stops push processing in Fotospeed FD30.<br />
Being of traditional technology, this film can be reticulated and the grain size can easily be increased where<br />
the need for large grain is required.<br />
8 Fotospeed Product Range
Fotospeed<br />
Fotospeed<br />
Fotospeed<br />
B&W PRINTING TIPS<br />
Fotospe<br />
Fot<br />
B&W PRINTING TIPS<br />
Written by and the copyright of<br />
Les McLean<br />
INTRODUCTION<br />
Making a black and white print is governed by a<br />
number of factors, one being the quality of the<br />
negative. In an ideal world all negatives would be<br />
perfect with good contrast and<br />
information in both highlights and shadows.<br />
However, it is not a perfect world and the best<br />
negative on any roll of film exposed is usually the<br />
one that is somewhat less than perfect and consequently<br />
needs some darkroom work at the<br />
printing stage. The following tips are some of the<br />
techniques and methods I have used in the past<br />
20 years of printmaking. Use them as a starting<br />
point and modify to suit your own judgement and<br />
taste.<br />
THE NEGATIVE<br />
Generally, negatives can be divided into three categories,<br />
or levels of contrast - normal, high and<br />
low. Normal and high contrast negatives can usually<br />
be printed using either normal grades of<br />
paper or by split grade printing. Low contrast negatives<br />
require a different approach. I will start with<br />
some general tips on method and discipline in the<br />
darkroom and which apply to any type of negative.<br />
The second part of these hints will deal with<br />
split grade printing and getting a print out of<br />
those low contrast or"thin" negatives.<br />
EXPOSURE<br />
Correct exposure is essential in print making.<br />
Therefore never guess the exposure you intend to<br />
give a print, always make a test strip. A<br />
correctly made test strip is an important<br />
reference in producing a high quality black and<br />
white print. Keep the increments of time used for<br />
each step as short as possible and the<br />
information gained from the test strip will be<br />
more precise. Using a soft pencil I sometimes<br />
mark each division on the test strip as I expose it<br />
to help me see the steps more clearly. Never<br />
choose the first or the last increment on a test<br />
strip for you will have no reference point, and will<br />
not know if a shorter or longer exposure would<br />
have been better.<br />
DEVELOPMENT<br />
Ensure that the developer is maintained at it's correct<br />
working temperature during any<br />
printing session otherwise consistency will<br />
suffer. Manufacturers information relating to<br />
time, temperature and dilution is a good<br />
starting point, but remember that different<br />
results and effects can be obtained by changing<br />
these factors. When experimenting, change only<br />
one factor at a time to ensure that you know how<br />
it will affect the final print. For example, increasing<br />
exposure and reducing development is likely<br />
to produce a slight warming of the image colour.<br />
FIXING THE PRINT<br />
Fixing the print, especially fibre paper, is a<br />
critical stage. Do not overuse the fixer solution, to<br />
do so will risk the print being insufficiently fixed<br />
and liable to irreversible staining. Over use of the<br />
fixer can also result in other salts, which are difficult<br />
to wash out, being built up in the fibres of the<br />
paper. I fix my fibre prints for exactly one minute<br />
in double strength fixer (1+4 for Fotospeed FX20<br />
and Ilford Hypam) and have had no staining problems<br />
in the 15 years I have used this method.<br />
Another benefit is that this method reduces washing<br />
time.<br />
WASHING PRINTS<br />
To ensure archival permanence it is essential that<br />
fibre prints are properly washed. In<br />
conjunction with the fixing sequence outlined<br />
above I have used the following procedure to<br />
wash my prints for the past 15 years.Having fixed<br />
the print as described I transfer it to a holding tray<br />
which has a slow trickle of water passing through<br />
from a hose attached to a tap. After 5 minutes I<br />
transfer the print into a hypo eliminator bath<br />
(Fotospeed WA50 Wash Aid 1+9 or Ilford<br />
Washaid 1+4) for the time recommended by the<br />
manufacturer (10 minutes). Finally, the print is<br />
transferred into an archival washer for 20 minutes.<br />
Should you not have an archival print washer,<br />
then use a tray for print washing, but remember<br />
that each time you add a print to those partially<br />
washed already in the tray, they will be<br />
affected by the fixer going into the tray. Therefore,<br />
when using a tray for washing it is advisable to<br />
wash in batches.<br />
SPLIT GRADE PRINTING<br />
This is a method of printing using variable<br />
contrast paper and more than one grade on the<br />
same print. Five years ago I devised a method<br />
using only grades 0 and 5 where the soft grade<br />
deals with highlights and the hard grade adds<br />
contrast and richness to the lower values. High<br />
contrast negatives give the best results for the system<br />
works on the basis that the density of the<br />
negative acts as a mask when adding the hard filtration<br />
on exposure. The basic procedure in making<br />
prints using this method is as follows:-<br />
Dial in the grade 0 filtration (100 Yellow on a<br />
colour head) and expose a test strip in the<br />
normal way. When developed examine and<br />
decide on the correct exposure for the<br />
highlight. Ignore the contrast and the density of<br />
the dark values and<br />
shadows. Place a<br />
second test strip on<br />
the base board and<br />
expose the whole<br />
strip for the time<br />
selected. Leave the<br />
test strip in place,<br />
dial out grade 0, dial<br />
in grade 5 (maximum<br />
Magenta on a<br />
colour head) and<br />
make a second<br />
series of test strip<br />
exposures over the<br />
already exposed<br />
strip. Develop the<br />
test strip and examine.<br />
You will see the<br />
density in the lower<br />
values has been<br />
established and the<br />
contrast increased. Select the strip you feel gives<br />
the result you like and expose the whole sheet of<br />
paper to the grade 0 and grade 5 times chosen.<br />
Using this method the contrast of the final print<br />
can be manipulated by careful control of the<br />
exposures given to soft and hard filtration. More<br />
soft filtration means lower contrast while increasing<br />
the hard filtration will result in higher contrast.<br />
PRINTING THIN NEGATIVES<br />
Split grade printing will not work when the negative<br />
is "thin" or low in contrast. The low contrast<br />
is partly due to under exposure and perhaps insufficient<br />
development. I have found the best way to<br />
print such a negative is to use grade 5 (maximum<br />
magenta on a colour head) only combined with<br />
careful control of time. Grade 5 gives maximum<br />
separation to the thin areas of a low contrast negative<br />
and careful timing enables you to give the<br />
precise exposure to achieve maximum black<br />
through the thinnest part of the negative.<br />
DRYING FIBRE PRINTS<br />
Before drying fibre prints it is essential to get as<br />
much of the surface water from both sides of the<br />
print by either the use of a squeegee or by wiping<br />
both surfaces with absorbent material ensuring<br />
that when you change sides you also dry the base<br />
material so as not to carry water to the already<br />
dried side.<br />
Once this is done then the print should be laid<br />
face down on preferably a drying screen or if a<br />
drying screen is unavailable then on a clean lint<br />
free material. It is most important that the print is<br />
emulsion side down since this will ensure that the<br />
print dries as flat as possible. The print should be<br />
allowed to dry naturally to minimise the curl of<br />
the print.<br />
After the print is dry then you can place the<br />
print(s) under a heavy book or similar to complete<br />
the flattening process. If you have acess to a dry<br />
mount press then even better. Give it one minute<br />
on medium to high heat with the print between<br />
two pieces of white museum board.<br />
Product Range Fotospeed 9
ed<br />
tospeed<br />
Fotospeed<br />
Fotospeed<br />
Fotospeed<br />
B&W PAPERS<br />
B&W PAPERS<br />
TAPESTRY<br />
B/W Fibre Paper<br />
Code Size(ins) Pack<br />
FS09210 8x10 10<br />
FS09430 9 1 ⁄2x12 50<br />
FS09510 12x16 10<br />
FS09530 12x16 50<br />
FS09610 16x20 10<br />
FS09630 16x20 50<br />
Fotospeed Tapestry is a fixed grade fine-art triple-weight premium fibre paper on a luxury 240g/m2 fibre base<br />
with a warm tone chlorobromide emulsion. It has a textural surface similar to an artist’s canvas. With its specialist<br />
chlorobromide emulsion, Tapestry is very responsive to warm tone developers which enhance the image<br />
warmth. Tapestry tones beautifully and is highly suited for lith printing.<br />
RCVC Glossy<br />
Resin Coated<br />
Variable Contrast<br />
Code Size(ins) Pack<br />
FS21112 5X7 25<br />
FS21114 5x7 100<br />
FS21914 7x9 1 ⁄2 100<br />
FS21212 8x10 25<br />
FS21214 8x10 100<br />
FS21413 9 1 ⁄2x12 50<br />
FS21511 12x16 10<br />
FS21513 12x16 50<br />
FS21611 16x20 10<br />
FS21613 16x20 50<br />
RCVC is a neutral to warm tone resin paper with a chlorobromide emulsion capable<br />
of recording grade 0 to 5 with the use of proprietry variable contrast filter or with<br />
the yellow and magenta chanels on a colour head enlarger. RCVC is suitable for<br />
both dish (60 secs development in Fototspeed DV10 Varigrade Developer at 1+9)<br />
and roller transport processing (where dry to dry time is 57 secs or faster). RCVC is<br />
available in two surfaces<br />
RCVC Oyster<br />
Resin Coated<br />
Variable Contrast<br />
Code Size(ins) Pack<br />
FS21122 5x7 25<br />
FS21124 5x7 100<br />
FS21924 7x9 1 ⁄2 100<br />
FS21222 8x10 25<br />
FS21224 8x10 100<br />
FS21423 9 1 ⁄2x12 50<br />
FS21521 12x16 10<br />
FS21523 12x16 50<br />
FS21621 16x20 10<br />
FS21623 16x20 50<br />
FBVC<br />
Fibre Based<br />
Variable Contrast<br />
Code Size(ins) Pack<br />
FS23212 8x10 25<br />
FS23214 8x10 100<br />
FS23413 9 1 ⁄2x12 50<br />
FS23511 12x16 10<br />
FS23513 12x16 50<br />
FS23611 16X20 10<br />
FS23613 16X20 50<br />
FBVC is a neutral tone double weight fibre paper capable of recording grade 0 to 5 with proprietry variable<br />
contrast filters or with the yellow and magenta chanels on a colour head enlarger. FBVC reacts favourably with<br />
different developers such as Fotospeed WT10 WarmTone Developer or Fotospeed PD5 Universal Print<br />
Developer. Fixation should be at 1+4 for 60 seconds preferably in Fototspeed FX20 Rapid Fixer. See tips to<br />
printing on the previous page. FBVC is available in Glossy only and in a range or sizes as shown to the left.<br />
LITH<br />
Fibre Based<br />
Code Size(ins) Pack<br />
FS25531 12x16 10<br />
FS25533 12x16 50<br />
FS25631 16x20 10<br />
FS25633 16x20 50<br />
LITH is specifically designed for lith printing where the paper is given a long exposure followed by development<br />
in very dilute Lith developer and where development can take anything from 5 minutes to 30 minutes.<br />
Fotospeed LITH comes with an eggshell surface and after development should be fixed as normal. Fotospeed<br />
LD20 Lith Developer is recommended since it comes with concise instructions for lith printing and is supplied<br />
with additional components to assist with the lith process. Fotospeed LITH can be used for normal printing and<br />
gives a grade 3 when put through regular print developer. Fotospeed LITH is available in the sizes as shown to<br />
the left.<br />
FOTOLINEN<br />
Linen Based<br />
B/W “Paper”<br />
Code Size(cms) Pack<br />
FS01210 20.3x25.4 10<br />
FS01510 30.5x40.6 10<br />
FS01700 120cmx2.5m Roll<br />
FS01800 120cmx10m Roll<br />
Fotospeed Fotolinen is a specially coated linen with an emulsion equivalent to grade 3. Being precoated, it is<br />
as tough as normal fibre paper but with the texture and flexibility of the linen base. Toning and handcolouring<br />
give endless possibilities to this unique medium. Processing is as for ‘normal’ papers however the use of<br />
Fotospeed DV10 developer at 1+9 and FX20 fixer at 1+9 proves a very reliable combination. Washing should<br />
take 20 minutes in running water and Fotolinen should be allowed to dry naturally. Once dry it can be<br />
smoothed by use of a cool iron (wool setting) on the non emulsion side.<br />
10 Fotospeed Product Range
COLOUR<br />
Fotospeed colour chemistry is innovative and delivers excellent results.<br />
We have introduced some unique and clever products to our colour<br />
portfolio which feature performance, efficiency, and longevity.<br />
Considerable research and development has gone into Fotospeed<br />
colour chemicals recently and we are now proud to say that we have<br />
range of colour chemistry to suit virtually every application.<br />
Fotospeed CK3E6 has been completely reformulated, this 3 Bath E-6 now performs effortlessly with new<br />
technology E-6 films such as Elite, Provia and Velvia as well as all other E-6 films. Bleach-fixing time is now<br />
down to just six minutes. The Chemicals come in a highly concentrated form which means less is needed to<br />
make the required volume.<br />
DESCRIPTION<br />
CK3E6 will process E6 film through rotary processors (such as<br />
the Jobo ATL range), deep tanks or hand held tanks.<br />
It is compatible with all slide films designed for the E6 process.<br />
Processing steps are: First Developer, Colour Developer,<br />
BleachFix, with a final optional stabiliser/rinse aid.<br />
The solutions are designed to give optimum results with all<br />
existing and the new generation films where the standard<br />
processing temperature is 38 o C (100 o F).<br />
This new improved 3 Bath E6 chemistry gives neutral tones<br />
producing transparencies perfect for colour separation.<br />
CONTENTS<br />
Each kit contains six bottles. The bottles represent the<br />
following parts: First Developer, Colour Developer A and B,<br />
Bleach Fix A and B and Stabiliser/rinse aid.<br />
COLOUR CHEMISTRY<br />
CK3E6<br />
3 Bath E6<br />
Processing Kit<br />
To make<br />
Code<br />
FS18150<br />
FS18170<br />
FS18190<br />
Size<br />
600mls<br />
1200mls<br />
5 Ltrs<br />
Fotospeed<br />
Fotospeed<br />
Fotospeed<br />
Fotospe<br />
Fot<br />
Fotospeed CKRA4 is a newly reformulated two bath chemical system designed for the processing of all RA4<br />
compatible colour printing papers where prints are made from colour negatives. The chemicals are supplied<br />
as liquid concentrates which make up Developer/Replenisher and Bleach Fix/Replenisher working solutions.<br />
The working solutions can be either used to exhaustion and discarded or replenished.<br />
AVAILABILITY, MIXING AND PROCESSING<br />
Fotospeed CKRA4 is supplied either as a Kit to make 2.5Ltr<br />
containing both Developer and Bleach Fix or in packs to make<br />
5Ltr of Developer or Bleach Fix which are available separately.<br />
Partial mixing of the concentrates to make small quantities of<br />
working solution is detailed in the user instructions with every kit.<br />
TEMPERATURE<br />
Optimum results are obtained at a temperature of 35ºC(95ºF) where<br />
a 45 second Development and a 45 second Bleach Fix produce<br />
perfect colour prints on RA4 compatible paper. CKRA4 can be used<br />
in roller transport processors, Nova slot, Rotary Drum or<br />
conventional dish. Where longer processing times are desirable, the<br />
processing temperatures can be reduced and the times extended.<br />
STORAGE AND CAPACITY OF SOLUTIONS<br />
The concentrates are specifically designed to exhibit long,<br />
stable storage characteristics. Once opened, the concentrates<br />
will keep up to six months, providing they are stored with a<br />
minimum of air space and the bottles tightly stoppered.<br />
Working strength solutions used without replenishment will<br />
keep up to six weeks when stored in air free tightly stoppered<br />
bottles. Solutions that are being replenished either in a roller<br />
processor or a Nova slot will last at least two months in situ. Each<br />
litre of Developer working solution will process a maximum of 2<br />
sq. metre and each litre of Bleach Fix a maximum of 3 sq. metres.<br />
Full detailed instructions for using Fotospeed CKRA4 in a variety<br />
of techniques, along with step by step guides and precautionary<br />
information are included with every kit.<br />
CKRA4<br />
RA4 Colour<br />
Print Chemistry<br />
To Make<br />
Code<br />
FS18280<br />
FS18290<br />
FS18299<br />
Size<br />
2.5Ltr Kit<br />
5 Ltr Dev<br />
5 Ltr Bl/Fx<br />
MONO RA4 Print Processing chemistry, with room temperature processing of 60secs development and<br />
bleachfixation at 20°C(68°F). MONO concentrate means single solution Developer and Bleachfix concentrates,<br />
which makes dilution clean and simple. The active ingredients are in powder form in the concentrate which<br />
extends the keeping properties of the concentrate and the active life of the working solution. Shaking the bottle<br />
before mixing puts the ingredients into suspension to enable partial mixing of the concentrate.<br />
DESCRIPTION<br />
Dilute concentrates 1+4 to make volume required. Each litre<br />
of working solution will process at least 3 sq metres of<br />
material (60 sheets of 8x10) unreplenished and without any<br />
filtration or exposure alterations. Alternatively the solutions<br />
can be replenished. Processing between 18°C(64.5°F) to<br />
25°C(77°F). At 18°C(64.5°F) processing time 90secs and at<br />
25°C(77°F) 30secs. This allows colour processing to be done<br />
in processing dishes at room temperature.<br />
The chemistry is odour less.<br />
When using Novas and Printos set to 22°C(72°F) for 45sec<br />
processing.<br />
Once diluted with water the active ingredients go into<br />
solution and do not settle out again.<br />
CKRA4/RT<br />
MONO RA4<br />
Room<br />
Temperature<br />
To Make<br />
Code<br />
FS18240<br />
FS18250<br />
FS18261<br />
FS18262<br />
Size<br />
1 Ltr Kit<br />
3 Ltr Kit<br />
6 Ltr Dev<br />
6 Ltr Bl/Fx<br />
Prints from Transparencies. An extremely simple conversion kit to transform Fotospeed MONO RA4/RT<br />
chemistry (above) into chemistry for processing R3 papers for making prints from transparencies at room temperature.<br />
DESCRIPTION<br />
Used in conjunction with MONO CKA4/RT, the Transformer<br />
Kit comprises: First Developer and an additive for the MONO<br />
RA4/RT developer. The Bleachfix from the Mono RA4/RT is<br />
used in this process. Processing is at Room Temperature (18 -<br />
24°C) and the appropriate processing time selected. At<br />
20°C(68°F) the whole process including all washes is 15 1 /4<br />
minutes and at 24°C(75°F) is 11 3 /4 minutes . This process can<br />
done in standard trays with no expensive equipment required.<br />
CKR3/RT<br />
R3 Transformer Kit<br />
To Make<br />
Code<br />
FS18340<br />
FS18350<br />
Size<br />
1 Ltr Kit<br />
3 Ltr Kit<br />
Product Range Fotospeed 11
ed<br />
tospeed<br />
Fotospeed<br />
Fotospeed<br />
Fotospeed<br />
COLOUR CHEMISTRY / COLOUR CORRECTION CHART<br />
PKC41<br />
C41 Press Kit<br />
To Make<br />
Code<br />
FS18520<br />
FS18530<br />
Size<br />
900 mls<br />
3 Ltrs<br />
A C41 Colour Negative processing kit packaged to suit press photographers on the move. This new<br />
generation C41 process kit is simple to use, with one bottle of developer and one bottle of bleachfix. The<br />
latest chemical technology delivers high quality development and rapid bleach fixation. Already widely<br />
acclaimed by press photographers, PKC41 film chemistry is ideal for all C41 compatible films including Ilford<br />
XP2 and the new Kodak TMax CN film.<br />
Both Developer and Bleachfix dilute 1+2 to make the required volume of working solution.<br />
CPS100<br />
Colour Print<br />
Brightener &<br />
Stabiliser<br />
Concentrate<br />
Code<br />
FS18220<br />
FS18230<br />
Size<br />
1 Ltr<br />
5 Ltr<br />
Fotospeed CPS100 is a unique product which brightens colours, whitens the base white, stabilises the print,<br />
and can be used to replace final washing. Dilutes 1+9 to make the working solution.<br />
DESCRIPTION<br />
The unique formula of CPS100 will brighten and whiten your<br />
colour prints and can be used to improve previously processed<br />
material. It is designed to perform with RA4 and R3 colour<br />
print material. Its stabilising qualities will greatly increase the<br />
life of your prints by up to 40%. CPS100 can be used either<br />
after washing or in place of washing. Dilutes 1+9 with water.<br />
CPS100 is not suitable for stabilising film nor does it have any<br />
effect on Ilfochrome paper.<br />
CAPACITY<br />
NUMBER OF 8X10 PRINTS PER LTR<br />
OF WORKING SOLUTION<br />
NO WASHING 20 (1m 2 )<br />
BRIEF RINSE 40 (2m 2 )<br />
FULLY WASHED 60 (3m 2 )<br />
After treating a print in CPS100 DO NOT WASH - simply dry<br />
the print.<br />
CKFP<br />
Universal Colour<br />
Chemistry<br />
To Make<br />
Code<br />
FS18410<br />
Size<br />
2.5 Ltrs<br />
Fotospeed CKFP is a truly universal colour chemistry for processing C41, EP2 and RA4 material through the<br />
same solution. There are no additional additives and mixing is simple with one developer concentrate and one<br />
bleach fix concentrate.<br />
MIXING INSTRUCTIONS<br />
CKFP is supplied as a kit to make 2.5 litres of working<br />
solution of developer and bleach fix. Supplied in 1Ltr<br />
concentrates, partial mixing is simple. Developer and<br />
Bleachfix dilute 1+1 1 /2 to make the volume required.<br />
STORAGE<br />
CKFP has a Best Before date on the box and unopened<br />
concentrates should be used by that date. Opened concentrates<br />
will keep for 4 months in tightly stoppered bottles.<br />
CB15<br />
Colour Print<br />
Bleacher<br />
Ready to use<br />
Code<br />
FS07720<br />
Size<br />
3 x 15 mls<br />
Fotospeed CB15 Colour Print Bleacher is a two part working solution which removes dark blemishes from<br />
colour prints including Cibachrome/Ilfochrome and similar material. When black spots appear from dust on<br />
Pos/Pos material, or from damaged negatives on Neg/Pos material, or if you simply wish to remove the<br />
background or an object from the colour print. The chemical removes the image and leaves the area white,<br />
ready for retouching.<br />
COLOUR CAST CORRECTION CHART<br />
NEGATIVE<br />
in the enlarger<br />
COLOUR<br />
CAST<br />
TRANSPARENCY<br />
in the enlarger<br />
Add YELLOW<br />
Add MAGENTA<br />
Subtract YELLOW & MAGENTA<br />
Subtract YELLOW<br />
Subtract MAGENTA<br />
Add YELLOW & MAGENTA<br />
YELLOW<br />
MAGENTA<br />
CYAN<br />
BLUE<br />
GREEN<br />
RED<br />
Subtract YELLOW<br />
Subtract MAGENTA<br />
Subtract CYAN<br />
Add YELLOW<br />
Add MAGENTA<br />
Add CYAN<br />
12 Fotospeed Product Range
Fotospeed<br />
Fotospeed<br />
Fotospeed<br />
ALTERNATIVE PROCESSES<br />
Fotospe<br />
Fot<br />
ALTERNATIVE PROCESSES<br />
<strong>Photo</strong>graphic processes which we know today have evolved over many<br />
years from the skills and experimentation of many famous and some<br />
less well known Masters of the Art. The photographic processes<br />
which these Masters developed, utilised many different types of light<br />
sensitive media to reproduce a negative image into a positive form.<br />
Evocative names such as Cyanotype, Bromoil and Palladium are some<br />
of the first principals of the photographer’s and printer’s art.<br />
Fotospeed are committed to pursuing the path of the old processes.<br />
Argyrotype takes the photographer back to first principals - using a silver based sensitising solution which is<br />
coated onto a quality art paper. Exposure by natural sunlight (a UV light source may be used as an<br />
alternative. We have found that even on a cloudy day the best exposures are made using natural daylight)<br />
development in water and fixation using a simple hypo solution. Argyrotype prints are brown and warm<br />
toned giving good contrast and midtone definition. Being silver based they can then be toned and dyed as<br />
they would have been in the early days. All images are made by the contact system, where the image depends<br />
on a negative of the appropriate size.<br />
ARGYRO<br />
Argyrotype Kit<br />
Code Size<br />
FS08410 Kit<br />
FS08411 50ml sens.<br />
THE ARGYROTYPE KIT -<br />
Contains: Sensitiser 50ml (sufficient for 40 - 8x10in applications),<br />
Syringe 2ml, Fabriano paper 5 sheets 8x10in, Kodak<br />
direct duplicating film 5 sheets 5x4in, Two glass coating rods<br />
4in and 8in, Hypo crystals, Protective gloves and full detailed<br />
instructions for use.<br />
Sensitiser, Glass coating rods and Hypo are available<br />
separately along with traditional contact frames with hinged<br />
backs in 8x10in and 12x16in.<br />
Raw chemistry is available on request - please phone.<br />
Cyanotype is in a single solution, and is an updated version of the original process. Using Ammonium Ferric<br />
Oxalate to give a good blue that does not wash out, this solution is twice as sensitive to UV as the<br />
traditional version. Development in water and citric acid can be used to manipulate contrast. All images are<br />
made by the contact system, where the image depends on a negative of the appropriate size.<br />
THE CYANOTYPE KIT -<br />
Contains: Sensitiser 50ml (sufficient for 40 - 8x10in<br />
applications), Syringe 2ml, Fabriano paper 5 sheets 8x10in,<br />
Two glass coating rods 4in and 8in, Protective gloves and full<br />
detailed instructions for use. Sensitiser, Glass coating rods<br />
and Hypo are available separately along with traditional<br />
contact frames with hinged backs in 8x10in and 12x16in.<br />
Raw chemistry is available on request - please phone.<br />
CYANO<br />
Cyanotype Kit<br />
Code Size<br />
FS08510 Kit<br />
FS08511 50ml sens.<br />
Fotospeed Bromoil Kit contains : Bleach Tanning Chemistry, Bromoil Paper 8x10in 10 sheets (a non supercoated,<br />
low contrast paper on a D/W fibre base - specifically made for the Bromoil process), one real Bromoil<br />
brush, 4 Inks (Black, Yellow, Magenta and Cyan), Inking tile, gloves and full detailed instructions.<br />
Bromoil Paper in 12x16(10) and 16x20(10), Inks (black, yellow, magenta, cyan), brushes (in varying sizes) and chemistry<br />
are available separately. See price list.<br />
BROMOIL<br />
Bromoil Kit<br />
Code<br />
FS08610<br />
FS08622<br />
Size<br />
Kit<br />
4Ltrs Chem<br />
Glass coating rods made out of 10mm borocillicate glass tube. The size of the rod refers to the straight line<br />
portion for coating. The rods are made with handles to hold while coating. The straight line portion is<br />
within exacting tollerences to ensure that the sensitiser being coated is applied evenly. It is however<br />
important to lay the paper onto which you are coating onto a piece of glass to ensure that the surface is<br />
absolutely smooth.<br />
These glass rods are designed for the coating of sensitiser from various alternative processes to ensure an even coating of<br />
the sensitiser.<br />
RODS<br />
Glass Rods<br />
Code<br />
FS08412<br />
FS08413<br />
FS08414<br />
Size<br />
4” (10cm)<br />
7.5” (19cm)<br />
11” (28cm)<br />
High quality Beech contact frames made with hinged backs to enable inspection of the material being exposed<br />
without deregistering the negative.<br />
FRAMES<br />
Contact Frames<br />
Code Size<br />
FS08310 8x10”<br />
FS08320 12x16”<br />
Product Range Fotospeed 13
ed<br />
tospeed<br />
Fotospeed<br />
Fotospeed<br />
Fotospeed<br />
ALTERNATIVE PROCESS TIPS<br />
ALTERNATIVE PROCESS TIPS<br />
INTRODUCTION<br />
Alternative printing relies on a contact negative<br />
the size of the image you wish to produce being<br />
laid in contact with the coated surface of which<br />
ever process you have chosen and then exposed to<br />
light which is high in Ultra Violet(UV).<br />
This can be from a dedicated UV light source or<br />
from the free source of the sun. Sunlight, while<br />
the best source, is not reliable and can be erratic<br />
from an exposure point of view due to passing<br />
clouds, which have a nasty tendency of blocking<br />
out the sun during exposure.<br />
The most popular surface to coat onto is heavy<br />
weight art paper but this must be a long fibre cotton<br />
pulp that is 100% acid free. Obviously you<br />
can coat onto fabrics as well but again it is most<br />
important that the medium is acid free.<br />
In short the following four points are paramount<br />
for the selection of a medium for coating:<br />
The paper or medium should:<br />
• be chemically compatible with the sensitizer.<br />
• have sufficient wet strength to withstand<br />
processing.<br />
• fulfill the requirements for archival<br />
permanence.<br />
• provide an aesthetically pleasing image<br />
surface.<br />
MAKING CONTACT NEGATIVES<br />
This part is the laborious part to alternative<br />
processes. There are many ways in the darkroom<br />
to making large contact prints. The aim is a negative<br />
with good contrast but not too dense to<br />
make exposures unbearably long.<br />
1. Kodak Direct Duplicating Film SO-132<br />
Very expensive, very slow and of very low contrast<br />
BUT convenient since it makes a negative from a<br />
negative. You can work under red safelight in the<br />
darkroom with SO-132.<br />
2. Lith Film - easy and good contrast but not<br />
direct. Original negative in the enlarger, lith film on<br />
base board(emulsion up) and make exposure.<br />
Process in print developer at 1+9 for 60 seconds<br />
and then fix and wash. You now have a B&W<br />
transparency (negative to positive). Take the dry<br />
transparency and put it emulsion to emulsion with<br />
an unexposed piece of lith film of same size and<br />
expose through transparency with white light from<br />
enlarger to make contact negative. Process as<br />
before and wash and dry. You are now the proud<br />
owner of a contact negative with good contrast.<br />
All this was done under Red safelight.<br />
3. The computer is a very useful and convenient<br />
method of producing a contact negative. Scan<br />
your image either from negative or print and using<br />
your prefered software produce a negative of the<br />
right size on screen. Then print out in B&W<br />
through an inkjet printer onto OHP Film. This is a<br />
special clear film for inkjet printers with an ink<br />
receiving layer and is available from most suppliers<br />
including Fotospeed.<br />
The ultimate quality of the silver image process is<br />
generally superior to that produced by the the<br />
computer but for alternative processes the inkjet<br />
method is generally very sympathetic with the<br />
image requirements. Do be aware that you are<br />
handling negatives so do handle them with care so<br />
that you can use them time and time again.<br />
PAPERS<br />
Your choice of an appropriate paper is critical to<br />
the success of this process. The following artists’<br />
papers are recommended and should be available<br />
from art shops:<br />
• Whatman Watercolour<br />
• Saunders Waterford*<br />
• Fabriano 5*<br />
• Arches Aquarelle*<br />
• Atlantis Silversafe <strong>Photo</strong>store<br />
• Rives BFK<br />
• Arches RKB<br />
• Arches Platine<br />
• Cranes AS8111<br />
• Cranes Crest Parchment<br />
• Hollingsworth Kent<br />
* these are gelatine sized and should be<br />
avoided for pure platinum printing<br />
You should select paper of a weight betweeen<br />
120 and 300 gsm. Light papers clear and wash<br />
rapidly, but may be fragile when handled wet;<br />
heavy papers are stronger but are slower to<br />
wash. For a smooth surface, choose Hot Pressed<br />
(HP); if you prefer some texture, choose the<br />
’NOT’ surface; with some papers, rough surfaces<br />
are also available, but these may result in<br />
rather poor definition. Many of these fine<br />
papers have two distinctly differing sides as a<br />
consequence of their method of manufacture,<br />
the so-called ‘wire’ side shows on close examination<br />
under bright light, a very fine mesh pattern.<br />
The ‘felt’ side has a random texture. Either<br />
side may be used for your print, depending on<br />
your taste.<br />
The best results are obtained on a handmade<br />
paper especially designed for alternative<br />
processes: Ruscombe Mill’s ‘Buxton’ paper. The<br />
specification for optimum performance is a<br />
100% long fibre cotton pulp, internally sized<br />
with ‘Aquapel’, and containing no other additives<br />
whatsoever. Papers consisting of a mixture<br />
of fibres can cause blotchiness or granularity in<br />
the image and papers sized with gelatin may<br />
stain. Do not, however, feel discouraged from<br />
experimenting with other papers - but please<br />
recognise that paper manufacturers, for their<br />
own purposes, usually include in their products<br />
substances that may interfer with the<br />
Argyrotype chemistry, or attack the fine silver<br />
image lying within the paper fibres. The sensitizer<br />
may also be applied to other surfaces, for<br />
example washed cotton or linen textiles,<br />
although it may be found best to size these with<br />
arrowroot starch before coating.<br />
COATING - ROD V’s BRUSH<br />
There are two main methods of coating the<br />
paper: by brush or by glass rod. Brush coating<br />
may appeal to those with more artistic<br />
inclinations; use a wide soft bristle brush without<br />
a metal ferrule. A Japanese ‘Hake’ brush is<br />
ideal. The glass rod spreader (it is actually a<br />
tube) offers the advantages of eveness, economy<br />
and cleaness of working. They are best suited<br />
to coating papers having a smooth (Hot<br />
Pressed) surface. With their use, only 1.6cc, or<br />
less of sensitizer will suffice for a 10x8 coating<br />
depending on the type of paper, whereas brush<br />
coating would consume probably twice as<br />
much.<br />
RAW CHEMISTRY<br />
While Fotospeed make and sell alterantive<br />
processes we also supply the raw chemicals for<br />
those who wish to make their own. Below is a<br />
list of raw chemicals that are supplied by<br />
Fotospeed.<br />
•Acacia - Gum Arabic<br />
•Alluminium Potassium Sulphate •Ammonia<br />
•Ammonium Chloride •Ammonium di-Chromate<br />
•Ammonium Ferric Citrate (green)<br />
•Ammonium Iron (III) Oxalate<br />
•Ammonium Iron (III) Sulphate<br />
•Ammonium Metavandate<br />
•Ammonium Thiocyanate<br />
•Arrowroot •Borax •Bromoil Ink Black<br />
•Bromoil Ink Cyan •Bromoil Ink Magenta<br />
•Bromoil Ink Yellow •Citric Acid<br />
•Citric Acid Tripotassium Salt<br />
•Citric Acid Trisodium Salt<br />
•Copper Sulphate •Cupric Chloride •Gallic Acid<br />
•Hydroquinone •Iron (II) Oxalate di-Hydrate<br />
•Metol •Oxalic Acid •Palladium Chloride<br />
•Potassium Bromide •Potassium Chlorate<br />
•Potassium di-Chromate •Potassium Ferricyanide<br />
•Potassium Ferrocyanide •Potassium Iodide<br />
•Potassium Permanganate<br />
•Potasssium Chloroplatinite •Silver Nitrate<br />
•Sodium Carbonate •Sodium Citrate<br />
•Sodium Hydrosulfite •Sodium Hydroxide<br />
•Sodium Metabisulphite<br />
•Sodium Metaborate Hydrate •Sodium Sulphide<br />
•Sodium Sulphite •Sodium Thiosulphate<br />
•Sulphamic acid •Thiourea<br />
LIQUID CHEMICALS<br />
•Deionised Water<br />
•Gold Chloride Solution 2% (1gm)<br />
•Hydrochloric Acid GPR 28%<br />
•Sulphuric Acid 10%<br />
•Tween 20 ionic surfactant<br />
14 Fotospeed Product Range
Fotospeed<br />
Fotospeed<br />
Fotospeed<br />
TONERS AND DYES<br />
Fotospe<br />
Fot<br />
TONERS AND DYES<br />
The Fotospeed name is synonymous with toning. Palette toner is<br />
the latest addition to our extensive range and introduces a whole<br />
new dimension to the creative world of photographic toning. All<br />
our toning products are made from the highest grade of raw<br />
materials to ensure the very best and consistent results.<br />
Palette Toner has pushed open the boundaries of metallic toning to allow an array of vibrant hues to be<br />
created from a single kit. Using traditional toning methods the four colours contained in the kit can be<br />
combined to proxduce a multitude of tones. Being a traditional toning system it is controllable and allows many<br />
copies of the same toned print to be made. Palette Toner is suitable for both Fibre and Resin Coated B&W papers.<br />
DESCRIPTION<br />
The kit comprises four toners : Titanium Yellow, Vanadium<br />
Yellow, Red and Blue. Each colour dilutes 1+9 with water and<br />
to it Activator must be added directly to the toner working<br />
solutions at the rate of 25ml/Ltr before the toner will tone. The<br />
Intensifier is only to be added to the Blue and Red elements for<br />
those who want the colour to really shout out . Additionally,<br />
not in the kit, you will need table salt and Hypo (sodium<br />
thiosulphate) crystals for clearing and refixing.<br />
Within each colour there are many hues obtainable. The<br />
variety is immense simply by adjusting time and combinations.<br />
Like the three primary colours (Yellow, Magenta and Cyan)<br />
placing the print to be toned into each solution for varying<br />
times creates a colour mix in the final image. Washing between<br />
solutions is essential. The working solutions can be rebottled<br />
for further use except for the blue. The blue working solution<br />
will not keep.<br />
All the elements are available separately so that when you run<br />
out of an element you do not have to purchase a whole kit.<br />
Full detailed instructions are only contained in the kit..<br />
The keeping properties of the working solutions is good and of<br />
the concentrates, 2 - 3 years.<br />
Fotospeed ST20 Odourless Vario Sepia Toner can produce a wide range of sepia tones on Fibre and Resin<br />
Coated B&W papers. It comprises three parts : Part 1 - Bleach ; Part 2 - Toner ; Part 3 - Toner Additive. Parts 1<br />
and 2 mix separately to make two working solutions with Part 3 being added in it’s concentrated form to<br />
Part 2 working solution to adjust the shade of sepia required. Part 3 is needed to activate the toner.<br />
MIXING INSTRUCTIONS<br />
Part 1 : Bleach - Dilute 1+9 with water to make the volume<br />
of working strength solution required. Should you wish the<br />
bleaching time to be faster or slower make up the solution<br />
stronger for faster bleaching and more dilute for slower<br />
bleaching.<br />
Part 2 : Toner - Dilute 1+9 with water to make the volume<br />
of working strength solution required.<br />
Part 3 : Toner Additive - This should be added, without<br />
dilution, directly to part 2 working solution in the quantity<br />
COLOUR<br />
YELLOW/BROWN 5<br />
SEPIA 15<br />
MID BROWN 30<br />
BROWN 75<br />
DARK BROWN 100<br />
PART3(ml) / WORKING PT 2(ltr)<br />
image apparent, can take up to 2 minutes. Prints may be<br />
removed from the bleach at any time without waiting for full<br />
bleaching to take place. The toner will only tone silver that has<br />
been bleached, any remaining silver from partial bleaching<br />
will stay as silver black and can add character to the final sepia<br />
toned print. After bleaching rinse the print well in running<br />
water for 2 minutesfor RC and 5 minutes for FB to remove all<br />
traces of the bleach.<br />
2. Place the bleached print into the tray of Sepia Toner with<br />
the required amount of additive and agitate well for about<br />
one minute to fully tone the print.<br />
3. Remove the print and wash for 3 mins for RC and 15 mins<br />
for FB and dry in the normal manner. Both the Bleach and<br />
Sepia Toner working solutions can be kept for reuse in airtight<br />
containers.<br />
CAPACITY<br />
Each litre of working solution should process 30 - 8x10in<br />
prints, depending on paper and image.<br />
Palette<br />
Palette Toner<br />
Concentrate<br />
Code Prod. Makes<br />
FS06910 Kit 2.5ltrs<br />
FS06911 Red 2.5ltrs<br />
FS06912 Blue 2.5ltrs<br />
FS06913 T/Yellow 2.5ltrs<br />
FS06914 V/Yellow 2.5ltrs<br />
FS06915 Activator 2.5ltrs<br />
FS06916 Intens. 2.5ltrs<br />
ST20<br />
Odourless Vario<br />
Sepia Toner<br />
Concentrate<br />
Code Size Makes<br />
FS06110 150 mls 1.5ltrs<br />
FS06130 500 mls 5ltrs<br />
FS06150 5 Ltrs 50ltrs<br />
Separate Parts: The last<br />
digit identifies the part.<br />
FS06131 500mls 5ltrs<br />
FS06151 5ltrs 50ltrs<br />
FS06132 500mls 5ltrs<br />
FS06152 5ltrs 50ltrs<br />
FS06133 500mls 5ltrs<br />
FS06153 5ltrs 50ltrs<br />
required to produce the shade of sepia required. The table<br />
gives a GUIDE to requirements. The additive can also be used<br />
to replenish the toning solution to hold the desired hue of<br />
sepia.<br />
USAGE<br />
Having selected your print to be toned ensure that it has been<br />
fully fixed and washed. In the case of dry prints first soak them<br />
in water to ensure that the emulsion is fully wet. This takes<br />
about one minute.<br />
1. Place the print in the bleach bath and agitate gently.<br />
Bleaching times may vary according to paper type. Complete<br />
bleaching of a print, to the point where there is no ‘black’<br />
PRINT QUALITY<br />
If there is doubt that the print to be toned has been fixed and<br />
washed thoroughly, it should be refixed and washed fully<br />
before toning. Staining on the toned print can result from the<br />
print having been inadequately fixed and washed beforehand.<br />
Variable Contrast papers may require the bleaching time to be<br />
extended over those published. Alternatively, the bleach can<br />
be diluted 1+7 (or stronger) with water to reduce the time<br />
required in this solution for variable contrast papers. A<br />
properly sepia toned print will be archivally permanent.<br />
The whole procedure should be done under normal<br />
room or daylight conditions.<br />
Product Range Fotospeed 15
ed<br />
tospeed<br />
Fotospeed<br />
Fotospeed<br />
Fotospeed<br />
TONERS AND DYES<br />
ST10<br />
NON Vario<br />
Odourless<br />
Sepia Toner<br />
Concentrate<br />
Code Size Makes<br />
FS06610 100 mls 1ltr<br />
Fotospeed ST10 NON Vario Sepia Toner is an odourless toner which will produce a fixed sepia tone on both Fibre<br />
and Resin Coated B&W papers. It comprises two parts: Part1 - Bleach & Part 2 - Toner. Each part mixes separately<br />
to make two working solutions. This toner will give a traditional sepia colour with no control over the colour.<br />
MIXING INSTRUCTIONS<br />
Part 1: Bleach - Dilute 1+9 with water to make the volume<br />
of working solution required.<br />
Part 2: Toner - Dilute 1+9 with water to make the volume<br />
of working solution required.<br />
USAGE<br />
Having selected the print to be toned ensure that it has been<br />
fully fixed and washed. In the case of dry prints, first soak<br />
them in water for 1 minute to ensure even take up of bleach.<br />
1. Place the print in the bleach bath and agitate gently.<br />
Bleaching times may vary according to paper type.<br />
2. After bleaching, place the print into running water for 1<br />
minute for RC paper and 5 minutes for fibre paper.<br />
3. Place the print into the toner bath, agitate gently and<br />
observe the image reconstructing. Full toning will be<br />
completed in 1 minute with fresh solution.<br />
4. Finally wash the print in running water. Wash RC papers for<br />
2 minutes and fibre papers for 10 minutes.<br />
reuse in airtight containers. Both solutions will however<br />
deteriorate once used and a slow-down in activity should be<br />
anticipated together with a colour shift in the toner on<br />
subsequent prints. To maintain consistency of sepia tone, it is<br />
advisable to make up only small quantities (approx. 200mls)<br />
of working solution at a time. After putting 5-8x10 prints<br />
through 200mls of solution, it will become exhausted. Each<br />
litre should process 25-8x10 prints assuming average density.<br />
PRINT QUALITY<br />
If there is any doubt that the print to be toned has been fully<br />
fixed and washed, it should be refixed and rewashed thoroughly<br />
before beginning toning. Staining on a toned print<br />
can result from the print having been inadequately fixed and<br />
washed beforehand.<br />
Variable contrast papers may be slow to react with the bleach.<br />
If this occurs extend the bleaching time or make the bleach<br />
more concentrated.<br />
CAPACITY<br />
Both the Bleach and Toner working solutions can be kept for<br />
The whole procedure should be done under normal<br />
room or daylight conditions.<br />
COTTS<br />
Finger ‘Condoms’<br />
Code Pack<br />
FS07820 100<br />
It is advisable when using chemicals to wear some protection for your fingers. Gloves are sometimes<br />
inconvenient and cumbersome. So, welcome to something that covers only the of fingers, Finger Cotts,<br />
fantastic protection for fingers and very easy to put on and take off.<br />
AD10<br />
Antique Dye<br />
Antique Dye AD10 gives a sepia toned print that ancient mature look. Modern papers have white highlights.<br />
Old prints have ‘nicotine’ stained highlights. Antique dye enables you to recreate the old look of the prints of<br />
yester-year. A single solution, that is very simple to use but very effective.<br />
Concentrate<br />
Code Size Makes<br />
FS07220 100 mls 3ltrs<br />
USAGE<br />
While the process is most effective with sepia tones prints, it<br />
can be used with straight black and white prints. Ensure that<br />
the print has been fully washed prior to Antique Dying since<br />
the print should NOT to be wash after, but simply wiped with<br />
tissue and allowed to dry naturally.<br />
Dilute the AD10 from 1+9 to 1+29 according to personal<br />
taste and place the print into the solution. Observe the slow<br />
change and remove when the effect required has been<br />
achieved.<br />
Do not wash or rinse. Only wipe the surface dye off the print<br />
and allow to dry naturally. Rebottle solution for reuse.<br />
RT20<br />
Copper/Red<br />
Toner<br />
Concentrate<br />
Code Size Makes<br />
FS06410 150 mls 1.5ltrs<br />
FS06430 500 mls 5ltrs<br />
Fotospeed RT20 Copper/Red Toner is a liquid toner which is supplied in a two part concentrate that makes a<br />
single working solution. It is specifically designed for the toning of Fibre and Resin Coated B&W papers. The<br />
shade of the Copper/Red tone is adjusted by the length of time the print is allowed to stay in the working<br />
solution. The longer it remains in the solution the more toned it becomes.<br />
MIXING INSTRUCTIONS & USAGE<br />
Part 1: Dilute 1+4 with water to make half the volume of<br />
working solution required.<br />
Part 2: Dilute 1+4 with water to make half the volume of<br />
working solution required.<br />
Pour the two diluted solutions into the same processing dish<br />
and ensure that they are well mixed together. The toner is now<br />
ready to use.<br />
Prints for Copper/Red toning should ideally be up to 15%<br />
denser than normal to compensate for the slight reducing effect of<br />
this toner.<br />
Having selected the print to be toned ensure that it has been<br />
fully fixed and washed. In the case of dry prints first soak them in<br />
water to ensure that the emulsion is fully wet. This takes about one<br />
minute. Now put the print into the dish of toner working solution<br />
and agitate it gently. The toning time takes anything from 1 minute<br />
to a maximum of 10 minutes when no further toning will take<br />
place.<br />
You will have to decide the shade of tone you require by observing<br />
the change in colour and removing your print from the solution<br />
when ready.<br />
Now fully wash the print for 5 minutes for resin coated papers<br />
and for 15 minutes for fibre based papers. Dry in the normal manner.<br />
Wipe the surface of the print with paper towel while it is in the<br />
wash to remove the scum deposited during the toning process.<br />
The whole procedure should be done under normal<br />
room or daylight conditions.<br />
STORAGE<br />
Working solutions do not keep. Concentrates keep for at least<br />
one year in sealed bottles.<br />
16 Fotospeed Product Range
MIXING INSTRUCTIONS<br />
The kit consists of 3 parts and the table below shows the<br />
mixing sequence with water Equal amounts of each part.<br />
The whole procedure should be done under normal<br />
room or daylight conditions.<br />
TONING BLACK AND WHITE PAPERS<br />
Ensure that the print has been well fixed and very well<br />
washed before toning.<br />
Mix up the required amount of working solution according<br />
to the table and pour into a processing tray. Place the print in<br />
the toning solution and agitate gently until the depth of tone<br />
is visually reached. Remove and wash well for 3 minutes or<br />
until the yellow stain has come out of the whites. A salt bath<br />
can be used to speed the removal of the yellow ‘stain’ from<br />
the highlights but wash well after. Dry the print naturally.<br />
TONING FILM<br />
Where possible ensure that the film to be toned is of<br />
optimum density and has been properly fixed and washed.<br />
Before toning dry films, soak them for about 2 minutes in<br />
water.<br />
Toning takes between 2-10 minutes depending on the<br />
density of the film image.<br />
For lengths of film such as 135/36 Exp. or 120/12Exp place<br />
the film before wetting into a tank spiral as for normal<br />
processing. In the case of pieces of film and sheet film then<br />
tray process.<br />
Fill the spiral tank with the required volume of toner to<br />
submerge the spiral and agitate the spiral in the open tank<br />
continuously in both directions. Examine intermittently. A light<br />
blue ‘fog’ may appear during toning but this will disappear<br />
during the washing sequence.<br />
Now wash the film for 5 minutes under running water and<br />
preferably use a rinse aid such as Fotospeed RA50 Rinse Aid<br />
in the final 30 seconds to ensure perfect uniform drying<br />
without streaking. Do not over wash the film since the dye<br />
will gradually wash out if the film is over washed.<br />
INTENSIFYING (DARKENING) THE BLUE TONE<br />
After toning and washing, the print can then be placed into<br />
B&W print developer diluted 1+9 for 2 minutes. The blue tone<br />
will completely disappear. Then wash for 1 minute and retone<br />
following the same procedure. The result will be an intensified<br />
blue tone. This procedure can be repeated several times to<br />
continue the intensification process. Prints for Blue Toning can<br />
be made lighter to compensate for the addition of density<br />
during the toning process.<br />
INTENSIFYING (BRIGHTENING) THE BLUE TONE<br />
Place the toned print into normal fixer diluted at 1+4 for one<br />
minute. This will remove the blue tone leaving a ‘ghost; blue<br />
in the highlights. Then place the print into running water for<br />
1 minute. If you like the image then dry to keep. Otherwise<br />
now place the print back into the blue toner and retone. The<br />
blue comes back brighter. The fixing process can be<br />
repeated and the print reblue toned for an even brighter<br />
result. Finally wash and dry.<br />
CAPACITY<br />
One litre of working solution will tone 6-135/36 Exp black &<br />
white films or the equivalent of 20 sheets 20x25cm black and<br />
white paper. Once the toner darkens discard and replace.<br />
STORAGE<br />
The working solution will not keep. Concentrates of the three<br />
parts will keep for up to two years in full tightly capped<br />
bottles and for about three months in half full capped bot-<br />
TONERS AND DYES<br />
BT20<br />
Blue Toner<br />
Concentrate<br />
Code Size Makes<br />
FS06210 150 mls 1.2ltrs<br />
FS06230 500 mls 4ltrs<br />
Fotospeed<br />
Fotospeed<br />
Fotospeed<br />
Fotospe<br />
Fot<br />
WORKING SOLUTION(MLS) WATER (ML) PART1 (ML) PART2 (ML) PART3 (ML)<br />
4000 2500 500 500 500<br />
3200 2000 400 400 400<br />
2400 1500 300 300 300<br />
2000 1250 250 250 250<br />
1200 750 150 150 150<br />
1000 625 125 125 125<br />
600 375 75 75 75<br />
200 125 25 25 25<br />
Fotospeed SLT20 Selenium Toner is a liquid toner which is supplied in a single part concentrate. It is specifically<br />
designed for the toning of Fibre and Resin Coated B&W papers to produce a wide range of subtle warm<br />
purple black tones or at higher dilutions for Archival Permanence techniques. The shade of the tone is<br />
adjusted by dilution and the length of time the print is allowed to stay in the working solution. The longer it<br />
remains in the solution the more toned it becomes. Resin coated papers can be slow to react with selenium,<br />
particularly the variable contrast papers. Papers with chlorobromide emulsions are the exception and will<br />
produce very effective results.<br />
MIXING INSTRUCTIONS<br />
Dilute from 1+3 to 1+12 with water to make the volume of<br />
working solution required depending on the speed and depth<br />
of tone required and the type of paper to be toned.<br />
The whole procedure can be done under normal room<br />
or daylight conditions.<br />
Having selected the print to be toned ensure that it has<br />
been fully fixed and washed. In the case of dry prints first soak<br />
them in water to ensure that the emulsion is fully wet. This<br />
takes about one minute.<br />
Now put the print into the dish of toner working solution<br />
and agitate it gently. The toning time takes anything from 1<br />
minute to 15 minutes depending on the shade of tone<br />
required.<br />
Now fully wash the print for 5 minutes for resin coated<br />
papers and for 15 minutes for fibre based papers. Dry in the<br />
normal manner.<br />
Resin coated papers can be slow to react with selenium<br />
toner. With this type of paper mix the working solution at the<br />
lower dilution (1+3) and use a temperature of 25ºC if<br />
necessary to assist the process.<br />
ARCHIVAL PERMANENCE TECHNIQUE<br />
Dilute 1+39 with water to make the volume of working<br />
solution required. Follow the instructions as above for toning<br />
in mixing instructions. Archival Permanence can be achieved<br />
with no appreciable change to the original tone of the print.<br />
STORAGE<br />
The working solution will keep for 2 months in a bottle and<br />
for at least a week in the open dish. Concentrates will keep<br />
for at least one year in the original bottle.<br />
SLT20<br />
Selenium Toner<br />
Concentrate<br />
Code Size Makes<br />
FS06310 250 mls 2.5ltrs<br />
FS06320 500 mls 5ltrs<br />
FS06330 1 Ltr 10ltrs<br />
Product Range Fotospeed 17
ed<br />
tospeed<br />
Fotospeed<br />
Fotospeed<br />
Fotospeed<br />
TONERS AND DYES<br />
GT20<br />
Green Toner<br />
Concentrate<br />
Code Size Makes<br />
FS06510 150 mls 750mls<br />
FS06520 500 mls 1.25ltrs<br />
Fotospeed GT20 Green Toner is a liquid toner for the toning of Fibre and Resin Coated B&W papers. It<br />
comprises three parts: Part 1 - Bleach; Part 2 - Toner; Part 3 -Toner Additive. Part 3, when added to Part 2<br />
working solution increases the shade of green. Also the length of time in the Part 1 Bleach affects the amount<br />
of black silver remaining prior to toning.<br />
MIXING INSTRUCTIONS<br />
Part 1: Dilute 1+4 to make the volume of solution required.<br />
Part 2: Dilute 1+4 to make the volume of solution required.<br />
Part 3: This should be added without dilution to Part 2<br />
working solution in the quantity required to produce the<br />
shade of green tone required. The table to the right gives a<br />
GUIDE.<br />
Prints for Green toning should be up to 20% denser than<br />
normal to compensate for the reducing effect of this toner.<br />
Having selected your print to be toned ensure that it has been<br />
fully fixed and washed. In the case of dry prints first soak them<br />
in water to ensure that the emulsion is fully wet. This takes<br />
about one minute.<br />
Now put the print into the dish of bleach working solution and<br />
agitate it gently. You can bleach for 1 to 5 minutes depending<br />
on how much black silver image you wish to remove.<br />
Remember, the more you remove the less contrast your print will<br />
have. Now remove the print and wash in water for 3 minutes<br />
and then place it in the toner. Leave in the toner for 5-10<br />
minutes. When toning is complete wash as normal and dry.<br />
Sometimes the base white of the print turns to an ivory in the<br />
wash after toning. This can be cured by placing the print into a<br />
10% solution of citric acid for 2 minutes and washing after.<br />
COLOUR<br />
ML OF PT3 / LTR. WORKING PT2<br />
YELLOWISH 0<br />
GREEN/YELLOW 25<br />
LIGHT GREEN 50<br />
MID GREEN 75<br />
GREEN 100<br />
STORAGE<br />
Working solutions will keep for 4 weeks after mixing.<br />
Concentrates will keep for up to one year in full tightly<br />
capped bottles and for about three months in half full capped<br />
bottles.<br />
The whole procedure can be done under normal room<br />
or daylight conditions.<br />
AU20<br />
Gold Toner<br />
Fotospeed AU20 Gold Toner is a single working solution and should NOT be further diluted. On RC prints Gold<br />
Toner shows little or no steel blue hue. Fibre prints will exhibit this cold blue hue. RC prints first require sepia<br />
toning, washing and then gold toning to replace the sepia with a reddish/peachy tone - also works on fibre.<br />
Ready to use<br />
Code<br />
FS06710<br />
Size<br />
1 Ltr<br />
MIXING INSTRUCTIONS<br />
The solution is supplied as a working solution and should be<br />
used directly from the bottle. Used on prints (RC or FB) that<br />
have been sepia toned, washed, then placed into the Gold<br />
Toner, a rich red/peachy tone will slowly produce in the highlights<br />
and midtones. The longer the print is left in the toner<br />
the redder the tone will become.<br />
On B&W fibre papers, a previously untoned print left in the<br />
solution for 20 minutes will take on a distinctive steely blue<br />
tone. Used on an untoned B&W RC print it will make the print<br />
archivally permanent but with little or no change in tone.<br />
The toner should be returned to the bottle for storage after<br />
each session. It can be used until it no longer tones which is<br />
approx. 60 - 8x10’s.<br />
STORAGE<br />
Fotospeed AU20 in a full, tightly capped bottle will keep for<br />
several years.<br />
DY15<br />
Fotodyes<br />
Concentrate<br />
Code<br />
FS07210<br />
Size<br />
12x15ml<br />
Fotospeed DY15 Fotodyes are designed to be used on any photographic emulsion. As true dyes, they are<br />
completely absorbed by the emulsion leaving no surface marking.<br />
The dyes come in 11 different colours with one reducer . All the dyes can be fully intermixed and /or diluted<br />
to produce any colour or shade required. The dyes are extremely concentrated and caution should initially be<br />
exercised when diluting for use. It is very rare to use the dye undiluted except to colour 35mm title slides.<br />
When using for the first time, we suggest you test the strength of colour on scrap prints. As a first test use 3<br />
drops of dye to 1 teaspoon of water. You can then see the effect of stronger colour by adding more drops of dye.<br />
APPLICATION<br />
To obtain the best results prepare the surface by wiping over<br />
with a 2% solution of wetting agent such as Fotospeed RA50<br />
but removing surface moisture before applying the dyes.<br />
While this step is not essential it will assist in even dye takeup<br />
particularly on large areas.<br />
Although these dyes are water soluble, it is difficult to<br />
remove them with water since they are absorbed by the emulsion.<br />
The dye can be completely removed by using the<br />
Reducing Agent in the kit undiluted with a cotton bud. After<br />
removing the dye remove the surplus reducer with damp cotton<br />
wool before drying the print.<br />
COLOUR PRINTS<br />
To add strength to weak areas use a dilute solution of the<br />
required colour. Use a cotton wool swab for large areas but<br />
remove surplus dye with slightly damp cotton wool to prevent<br />
uneven run down. These dyes are ideal for retouching colour<br />
prints as no surface mark will be left by the dye.<br />
BLACK AND WHITE PRINTS<br />
The techniques described for colour prints can be used to<br />
hand colour B&W prints. Where toning has been used the<br />
Fotodyes can add selective subtle colour to small areas of the<br />
print. For retouching untoned black and white prints the<br />
Fotospeed DY10 B&W Retouch Kit is more suitable.<br />
COLOUR TRANSPARENCIES<br />
Off colour transparencies will be greatly improved by immersion<br />
in a dye bath complimentary colour, but do remove surplus<br />
dye before drying.<br />
BLEMISHES<br />
Both prints and transparencies can be spotted-in by stippling<br />
with an almost dry brush, be careful not to use too strong a dye.<br />
18 Fotospeed Product Range
Fotospeed<br />
Fotospeed<br />
Fotospeed<br />
TONERS AND DYES<br />
Fotospe<br />
Fot<br />
GENERAL HINTS<br />
Greatest dye take-up will occur when the print or film is not<br />
pre-wetted. Nothing will be gained by prolonged immersion,<br />
as once the emulsion is thoroughly wetted, it cannot take up<br />
more dye. If the colour is not strong enough, repeat the<br />
process after drying, maybe with a stronger dye bath. Be sure<br />
to dab off surplus dye before drying.<br />
PREMASKING<br />
When dyeing large areas it is better to protect the parts of the<br />
image you do not wish to dye. This can best be done by first<br />
painting those areas with Fotomask which is a quick drying<br />
liquid plastic that easily peels off after dyeing. Fotomask is<br />
very useful for dyeing title slides when, by masking and<br />
dyeing in sequence, a limitless range of colours can be<br />
produces on one slide, but do remember the dye will also be<br />
absorbed by the back of the film.<br />
RINSING AND DRYING<br />
If large areas have been dyed whilst others have been kept dry<br />
with Fotomask remove the Fotomask before drying and wet<br />
the complete print or film to avoid cockling during drying.<br />
This step is not necessary if only small areas have been dyed<br />
or spotted.<br />
OTHER USES FOR FOTODYES<br />
Undiluted, these dyes are ideal drawing inks of greater purity<br />
and brilliance than waterproof inks. Containing no fluorescence,<br />
they photograph true to colour. Diluted and applied by<br />
airbrush they are used to produce coloured showcards,<br />
exhibition signs, etc.<br />
The dyes are in a highly concentrated form, however<br />
where greater saturation is required, add 0.5% of Acetic Acid<br />
to the dye which will increase saturation by up to 50%.<br />
Do not dilute the black dye. All other colours can be<br />
diluted to form pastel colours. All colours can be intermixed to<br />
produce a limitless range of colours. Here are a few examples:<br />
50% Yellow + 50% Crimson =Orange<br />
15% Yellow + 85% Crimson =Vermillion<br />
25% Yellow + 75% Cyan =Leaf Green<br />
7% Yellow +93% Cyan =Deep Green<br />
40% Yellow +10% Cyan + 50% Water =Yellow Green<br />
30% Yellow + 30% Cyan +40% Crimson =Brown<br />
52% Yellow + 20% Cyan +28% Crimson =Burnt Sienna<br />
32% Yellow + 14% Cyan +54% Crimson =Flesh<br />
DY15 cont<br />
Fotospeed DY10 B&W Retouch Kit is suitable for use on all black and white prints. The kit can be used to add density<br />
by using the dyes, or to remove density with the silver image bleach. The silver image bleach can be used to<br />
remove either small black spots or large areas that are not required in the finished print.<br />
The kit contains silver image bleach, black dye, grey dye and burnt sienna dye. The dyes leave no surface marking.<br />
DY10<br />
B/W Retouch Kit<br />
Concentrate<br />
Code Size<br />
FS07710<br />
5x15mls<br />
APPLICATION<br />
For protecting areas of a print from toning or dying. Being<br />
bright red it is easy to see where it is being applied. The red<br />
pigment will not stain or discolour photographic emulsion. By<br />
brush, using bold strokes flowing it towards the required outline.<br />
Fotomask has good surface tension and resistance properties,<br />
therefore only the thinnest coat is needed. Avoid over<br />
brushing, which due to the rapid drying characteristics will<br />
cause lifting and sticking. If this should occur or the brush<br />
becomes sticky, simply dip the brush in Fotomask Brush<br />
Cleaner until pliable and continue.<br />
REMOVAL<br />
To remove Fotomask simply attach a piece of adhesive tape or<br />
similar to the edge of the Fotomask and peel off in one sheet.<br />
If you have toned the print always ensure that you re-soak the<br />
area under the mask before drying the print to avoid cockling.<br />
OTHER USES<br />
Fotomask has been found useful to cocoon printed blocks,<br />
also to protect precision metal surfaces from the effects of<br />
pollution and oxidisation. It is also used to protect optical<br />
surfaces and as a printed circuit etch resist. Its instant removal<br />
without solvents is a great advantage over traditional greases<br />
and waxes. Fotomask must not be used in an airbrush.<br />
Do not use the Brush Cleaner to dilute Fotomask as this<br />
will prevent it stripping. CAUTION - Fotomask will bond<br />
permanently to some plastics.<br />
MK50<br />
Fotomask<br />
Ready to use<br />
Code Size<br />
FS07310<br />
125mls<br />
During the application of Fotomask, brushes will become sticky and they should therefore be occasionally cleaned in this<br />
solution to keep them pliable. After using brushes to apply Fotomask they should be cleaned in this solution by inserting the<br />
brush into the can of brush cleaner.<br />
Do not decant the cleaner but rinse the brush in the can remembering to replace the cap immediately after use.<br />
Do not use the Brush Cleaner to dilute Fotomask as this will prevent it stripping.<br />
CAUTION - Both these products are highly flammable and must not be used near naked flames or in confined<br />
spaces. Replace caps when not in use.<br />
MKS50<br />
Fotomask Brush<br />
Cleaner<br />
Ready to use<br />
Code<br />
FS07410<br />
Size<br />
125mls<br />
Product Range Fotospeed 19
ed<br />
tospeed<br />
Fotospeed<br />
Fotospeed<br />
Fotospeed<br />
Fotospeed<br />
TONING HINTS<br />
TIPS AND HINTS TO TONING<br />
INTRODUCTION<br />
Fotospeed toners have been specifically designed<br />
for the toning of black and white silver based<br />
emulsions. This applies to both film and paper.<br />
The toning process involves the conversion of the<br />
black silver within the print to another metallic<br />
compound. When correctly toned, the image will<br />
be chemically stable. Toners such as Selenium<br />
and Gold are ideal for archival permanence<br />
techniques.<br />
Toning techniques are carried out after the<br />
print has been fully fixed and washed and are<br />
therefore performed under normal daylight<br />
conditions. If, as in the case of an old print, you<br />
have any doubts as to wether it has been fully<br />
fixed and fully washed, then refix and rewash<br />
before proceeding. Toning is very much in the<br />
creative domain of the user. When toning it is<br />
important to observe the shift of colour in the<br />
print. Times given in the instructions should<br />
therefore be used as a guide only.<br />
Fotospeed toners are available as liquids and<br />
fall into two categories. Two bath working solutions<br />
i.e. ST20 Vario Sepia Toner, ST10 Non vario<br />
Sepia Toner and GT20 Green Toner, and single<br />
working solution toners i.e. PALETTE Toner, BT20<br />
Blue Toner, RT20 Copper/Red Toner, SLT20<br />
Selenium Toner and AU20 Gold Toner. In the case<br />
of the two bath toners the print is bleached first<br />
and after a short rinse, toned in the second bath.<br />
The print can be bleached for as little or as long<br />
as the user requires. Full bleaching of the print,<br />
ie., when the whole image has virtually disappeared,<br />
will allow the pure colour of the toner to<br />
be reproduced in full. Partial bleaching of the<br />
print will leave black silver in the image and<br />
therefore give the final tone a darker colour due<br />
to the underlying silver still in the print. In the<br />
case of single working solution toners the bleaching<br />
and toning processes are simultaneous. To<br />
arrest the toning process the print is removed<br />
from the toner and washed. As with all these<br />
techniques it is the user's personal preference<br />
which is paramount. After any toning process<br />
only good washing is required, there is no<br />
requirement for fixation.<br />
CHOICE OF PAPER<br />
Fotospeed toners are suitable for all silver based<br />
emulsions. There are many types and makes of<br />
photographic paper available and all are suitable<br />
for toning provided there is silver in the print. (It<br />
should be noted that some Black and White<br />
Prints produced commercially in colour laboratories<br />
will have used a special B&W paper<br />
that goes through the RA4 colour process.<br />
These prints will be silverless after processing<br />
and therefore will not be able to be toned.<br />
Watch out!) Each paper will have its own inherent<br />
characteristics according to how they have<br />
been manufactured. As a result each paper will<br />
produce a slightly different shade, depth and<br />
quality of tone.<br />
Resin coated variable contrast papers are the<br />
most popular and readily available. The plastic<br />
coating makes them easy to handle and they will<br />
require minimal (2 minutes) washing times. The<br />
lightweight emulsion coating and plastic coating<br />
20 Fotospeed Product Range<br />
means that they may require longer toning times<br />
and will produce less tonal vibrance than fibre<br />
based papers.<br />
Fibre based papers absorb toners well and<br />
produce rich hues. They require less toning time<br />
but infinitely more washing and more careful<br />
handling than resin papers.<br />
Graded papers will vary according to the<br />
grade. The higher the grade the stronger the<br />
tone.<br />
Variable Contrast Papers have a complex<br />
structure of emulsions for the toner to penetrate<br />
and will require greater toning times.<br />
The higher the silver content within the paper<br />
the better the quality of the toned image.<br />
Which ever paper is used, it is important that<br />
all prints are well fixed and washed before<br />
toning. Handle prints carefully as any mark or<br />
blemish in the print will be exaggerated in the<br />
toning process. This is particularly important<br />
when using blue toner.<br />
IMAGE DENSITY<br />
Sepia Toner ST20 and ST10 Sepia Toner should<br />
return the image to the density of the original<br />
print. Therefore no additional print density is<br />
required. Where very fine detail in the highlights<br />
does not return it is most likely due to the<br />
solution being too cold.<br />
Blue Toner BT20, particularly when used to<br />
obtain a dark blue, can add density to the<br />
image. If a final toned image of “normal”<br />
density is required, the image of the<br />
original print for toning should be<br />
sufficiently lighter to compensate for the<br />
gain in density during the toning process.<br />
Conversely, the Green Toner GT20 and the<br />
Copper/Red Toner RT20 have a reducing<br />
effect on the image density during toning.<br />
The image prior to toning should be<br />
sufficiently darker to compensate.<br />
Selenium Toner SLT20, being a true<br />
selenium toner, will add contrast to the<br />
image. The final effect will show a crisping<br />
of the black areas and an increase in contrast<br />
of approximately half a grade.<br />
Gold Toner AU20 should be treated as per<br />
Sepia Toner.<br />
SPLIT TONING<br />
Options for toning are not limited to just the use<br />
of one toner per print. Split toning is a technique<br />
whereby toners of different colours are used<br />
sequentially to allow more than one colour to<br />
react with the image and create a blend of<br />
colour. The technique requires the reduction of<br />
time in the first toner (in the case of sepia then a<br />
reduction of time in the bleach), leaving sufficient<br />
untoned silver for a reaction with the subsequent<br />
toner. Choose a subject with good tonal range.<br />
Split toning is not an exact science. Results can be<br />
a little unpredictable but as a general rule, the<br />
highlights will take the colour of the first toner,<br />
the shadows the colour of the last toner and the<br />
mid tones in the area of the “cross over” a mixture<br />
of each. Extending the time in the first toner<br />
will push the “cross over” further towards the<br />
shadows with more of the first tone appearing in<br />
the highlights and mid range and visa versa.<br />
Always wash the print well when transferring<br />
from one solution to the next.<br />
SPLIT TONING SUGGESTIONS<br />
Follow the instructions for using the toners but<br />
reduce the time in the first solutions to 25% of<br />
that required for a “normal” toned print. Wash<br />
the print well prior to immersing in the second<br />
toner. Leave in the second toner until the<br />
required effect is seen then remove and wash.<br />
Sepia then blue produces sepia highlights<br />
with blue shadows and green mid range.<br />
Copper then blue produces mauve, mauve<br />
blues and blues.<br />
Sepia then Selenium produces brown purples.<br />
Selenium then Gold produces purpley blue<br />
mid tones.<br />
Blue then Selenium produces blue shadows<br />
and buff highlights<br />
GENERAL HINTS<br />
Make up sufficient solution to allow the print to<br />
be fully emersed in the toning solutions. If there<br />
is insufficient solution toning will be uneven.<br />
Continuous agitation will keep the solutions<br />
moving across the surface of the print and prevent<br />
localised exhaustion of the toner. Once<br />
toner concentrates have been mixed they will<br />
begin to oxidise in the open dish. The greater<br />
surface area exposed to the air the more rapid<br />
the oxidisation will be. Concentrates will keep in<br />
tightly capped bottles so it is better to make up<br />
smaller quantities of working solutions as<br />
required.<br />
Contamination of solutions can cause disappointing<br />
results. Always take meticulous care<br />
when toning and ensure that all equipment is<br />
clean before use. Chemical residues in dishes can<br />
contaminate solutions and produce inconsistent<br />
results. Rinse prints in a water bath when moving<br />
from one solution to the next unless otherwise<br />
stated as this will help to prevent cross contamination<br />
and improve the life of the toner. Follow<br />
the mixing instructions carefully.<br />
Always follow the health and safety guide<br />
lines with each kit. Wear impervious gloves<br />
and/or use tongs when handling prints in the<br />
solutions. Work in a well ventilated room.<br />
Fotospeed PALETTE TONER is a new multi<br />
toner kit with three colours - Yellow, Blue & Red<br />
enabling a range of colours and hues to be<br />
achieved through the splittoning process. Each<br />
colour is a single solution with an activator liquid<br />
being added to the toner to start toning. Palette<br />
toner offers a huge range of colours that are<br />
totally different to the traditional toners shown<br />
here.<br />
Fotospeed ST20 SEPIA TONER is an<br />
odourless variable toner that will produce a wide
TONING HINTS<br />
Fotospeed<br />
Fotospeed<br />
Fotospeed<br />
Fotospe<br />
Fot<br />
range of sepia tones. ST20 is a two bath sepia<br />
toner supplied as a three part concentrate. Part 1<br />
is the bleach which dilutes with water to form a<br />
working solution. Part 2 is the toner which<br />
dilutes with water to make the toner working<br />
solution. Part 3 is the additive which gives the<br />
toner solution the shade of sepia. This concentrate<br />
is added directly into the toner working<br />
solution. The quantity of part 3 added to the<br />
toner solution will vary the sepia colour from yellow<br />
sepia through to dark chocolate sepia. If too<br />
much part 3 is added to the part 2 working solution<br />
the sepia hue will be so dark brown that the<br />
print will have the appearance of a black and<br />
white print. For full information on this toner see<br />
the relevant section of this booklet.<br />
BLEACHING<br />
ST20 bleaching solution will slowly remove the<br />
image from the print. The solution will begin<br />
bleaching the highlight areas first and then move<br />
into the shadow areas until the image has been<br />
almost, though not completely removed. Where<br />
the image has been bleached the toner will redevelop<br />
the image in the chosen shade of sepia.<br />
Bleaching can be stopped at any time by removing<br />
the print and rinsing in water. The amount of<br />
bleaching the image receives will alter the final<br />
effect of the toned print. The more the image is<br />
bleached the purer the hue of sepia will be. The<br />
less time the print is bleached the more black silver<br />
will remain in the image and therefore the<br />
sepia will have a more black hue. Fotospeed<br />
bleaching solution has been designed to act<br />
slowly so that the bleaching times can be carefully<br />
controlled. If you require more rapid bleaching,<br />
add less water when diluting.<br />
TONING<br />
The part 2 toning solution once diluted to working<br />
strength will need to be activated by a small<br />
amount of the additive. To achieve a yellow sepia<br />
only small quantities of part 3 should be added.<br />
The more part 3 added the darker the sepia<br />
shade.<br />
Fotospeed BT20 BLUE TONER is an odourless<br />
single bath toner which is supplied in three<br />
concentrates. These concentrates are mixed with<br />
water and then combined in the dish to make a<br />
single working solution. A variety of blue tones<br />
can be achieved by varying the suggested dilutions<br />
of the concentrate and by varying the<br />
length of time the print is left in the solution. Full<br />
toning will occur after about 10 minutes depending<br />
on the density of the print. Once full toning<br />
has taken place remove the print from the solution<br />
and rinse in water.<br />
A blue toned print can be further enhanced by<br />
intensifying or reducing the blue tone using<br />
working solutions of Fotospeed PD5 Print<br />
Developer and Fotospeed FX20 Fixer. Instructions<br />
for these techniques are given in the relevant section.<br />
Blue toned prints will have an overall yellow<br />
stain on removal from the toner which is particularly<br />
apparent in the white areas of the print. This<br />
stain will disappear with washing. Any stubborn<br />
stains related to blue toning that do not wash<br />
out in the running water can be removed by<br />
either passing the print quickly through a weak<br />
salt solution (approximately 1 tablespoon diluted<br />
in a litre of water) or wiping a swab of cotton<br />
wool soaked in print developer across the effected<br />
areas. Always rinse the print thoroughly and<br />
allow to dry naturally.<br />
If any residual scum remains on the print after<br />
washing, this can be removed by rubbing the<br />
print with a piece of cotton wool containing<br />
80% solution of acetic acid. Give the print a<br />
quick rinse and allow to dry naturally. Good<br />
washing cannot be overstressed with blue toner.<br />
Ideally tone past the point you want to be and<br />
wash the print back. Prolonged washing will<br />
regenerate the blue tone to black and white<br />
which can be very effective for getting a really<br />
clean, crisp blue tone.<br />
Fotospeed RT20 COPPER/RED TONER is<br />
an odourless single bath toner which is supplied<br />
in two concentrates. The concentrates are diluted<br />
with water and combined in the dish to make<br />
a single working solution The shade and depth of<br />
copper/red tone can be varied by the altering the<br />
suggested dilutions of the concentrates and by<br />
the length of time the print is left in the working<br />
solution. Full toning will take approximately 10<br />
minutes. Once toning has been completed the<br />
bleach elements in the solution will continue to<br />
attack the image but no further change of colour<br />
will take place and the image will gradually<br />
reduce in density.<br />
The copper /red toned print can be further<br />
enhanced by intensifying or reducing the colour<br />
using working solutions of Fotospeed PD5 Print<br />
Developer and Fotospeed FX20 Fixer. If a<br />
copper/red toned print is placed after washing<br />
into sepia toner (no need to bleach first) a reddish<br />
sepia tone will result.<br />
A Copper toned print once toned and washed<br />
can be placed in a working solution of Fotospeed<br />
PD5 Print Developer as redevelopment occurs<br />
remove the print and wash briefly then place into<br />
the copper toner solution. This procedure can be<br />
repeated several times. With each process the<br />
image will become more solarised and the original<br />
shadow areas will take on a metallic look.<br />
Fotospeed ST20 SEPIA TONER BLEACH<br />
can also add a further dimension to a copper<br />
toned print. A copper toned print after being<br />
washed can be passed through ST20 sepia<br />
bleach for 30 seconds or so and then washed.<br />
This process will shift the copper red tone to a<br />
brighter red and generally brighten the print. It is<br />
important to realise that when copper toning, a<br />
deposit is left on the surface of the print and<br />
prints should be rubbed with a wad of cotton<br />
wool when they first go into the wash to remove<br />
this deposit.<br />
Using the same method but instead of ST20<br />
Sepia bleach a working solution of Fotospeed<br />
FX20 Fixer, will give the shadow areas a blue cast<br />
and move the copper tones to a pinky hue.<br />
When manipulating an image with these solutions,<br />
always wash the print between each bath.<br />
Copper Red toner will exhaust quickly, so it<br />
advisable to make up small quantities of working<br />
solution and replace with freshly mixed concentrates<br />
as needed.<br />
Fotospeed SLT20 SELENIUM Toner is a single<br />
concentrate diluted to make a single working<br />
solution. Selenium toner smells strongly of<br />
ammonia and should therefore be used in a very<br />
well ventilated area. Once the smell of ammonia<br />
can no longer be detected then the Selenium has<br />
become exhausted. The warm purple hue associated<br />
with selenium will depend on concentration<br />
and the type of paper being used. With some of<br />
the RCVC papers, the selenium effect can sometimes<br />
be so subtle that only when compared to<br />
the original print can a shift in colour be noticed,<br />
however the increased contrast and crisping of<br />
the black areas, and the archival permanence<br />
effect will take place.<br />
The type and brand of paper used when producing<br />
selenium toned prints is more crucial than<br />
with any other toner. The depth of colour can be<br />
very slight in some cases. Resin papers are the<br />
most stubborn to react to selenium and will give<br />
the most subtle of changes.<br />
Split toning techniques often use Selenium<br />
toner as the subtle tone mixes well with the<br />
stronger tones of Copper/Red, Blue and Sepia.<br />
When used for archival permanence techniques<br />
Selenium toner should be diluted at 1+39<br />
with water. The print should be left in the solution<br />
for approximately 10 minutes and there will<br />
be no appreciable shift in colour.<br />
Fotospeed AU20 GOLD TONER is so called<br />
because of the presence of gold chloride in the<br />
solution. Gold toner will create peachy red tones<br />
on prints which have already been sepia toned,<br />
or steely blue shades on fibre prints that have not<br />
been toned. Gold toner will not produce gold<br />
coloured prints. To create the peach tones, sepia<br />
tone the print in the normal way, making sure<br />
fully wash the print at the end of the process.<br />
Then place into gold toner. Staring with the highlight<br />
areas the image will slowly turn a rich<br />
peachy red.<br />
Untoned B&W fibre prints placed into the gold<br />
toner will take on a cold steely blue the black<br />
areas.<br />
Gold toner also used for archival permanence<br />
techniques. It is supplied as a working solution. It<br />
should not be diluted. Gold toner should be<br />
rebottled and used again. It is most important<br />
that prints placed into Gold Toner have been very<br />
well washed prior to immersion since<br />
contamination will reduce its longevity.<br />
Fotospeed AD10 ANTIQUE DYE is used<br />
after sepia toning to give prints that old<br />
fashioned nicotine stain in the borders. It can be<br />
diluted to alter the shade of yellow required.<br />
Once the print has been passed through the<br />
solution it should not be washed but wiped and<br />
allowed to dry<br />
MASKING AND TONING<br />
Fotospeed MK50 Fotomask is a bright red<br />
liquid plastic which is used to protect the applied<br />
areas from subsequent dyeing, toning, beaching,<br />
etc. It has been designed specially for photographic<br />
emulsions and so will not leave any surface<br />
mark on the print. It is easy to use and once<br />
applied dries quickly to form and impervious seal.<br />
To remove Fotomask simply left the edge with a<br />
small piece of adhesive tape and it will peel away.<br />
Fotomask can be applied to areas of a print so<br />
that two or more toners can be used to give an<br />
image a duo tone effect.<br />
Fotospeed DY15 Fotodyes<br />
Hand tinting with fotodyes can add just a hint of<br />
colour to an image. Fotospeed fotodyes are<br />
supplied in a kit of 11 colours and one reducer.<br />
Also the dyes will not leave any surface mark on<br />
the print, even on glossy paper.<br />
Product Range Fotospeed 21
ed<br />
tospeed<br />
Fotospeed<br />
Fotospeed<br />
Fotospeed<br />
SUNDRIES<br />
LE30<br />
Liquid Emulsion<br />
Concentrate<br />
Code Size<br />
FS07110<br />
30mls<br />
FS07120<br />
250mls<br />
FS07130<br />
500mls<br />
FS07140<br />
1 Ltr<br />
Fotospeed LE30 Liquid Emulsion is a Black & White photographic emulsion grade 2 supplied in a form that<br />
allows the user to apply it to any surface if the following instructions are adhered to. At all times it should be<br />
remembered that you are dealing with a light sensitive product and therefore the precautions for a normal<br />
B&W paper should be followed.<br />
PREPARATION FOR USE<br />
Heat container in a water bath to a maximum temperature of<br />
50ºC. Leave the lid on to prevent water entering the tub or<br />
bottle. The emulsion should turn to a creamy liquid in approximately<br />
5 minutes.<br />
Pour emulsion required into a beaker and add water at approx<br />
40ºC to the emulsion at the mixture of 1 part emulsion to 1<br />
part water. Gently agitate the beaker to cause the water and<br />
emulsion to mix. Continue heating the beaker until a uniform<br />
mixture is obtained. At this point the emulsion is ready for<br />
application. For richer images the emulsion can be used neat.<br />
APPLYING THE EMULSION<br />
You may work under RED safelight but keep the safelight at<br />
least 3feet away from where you are coating.<br />
Ensure that the surface to which the emulsion is being applied<br />
is clean and free from grease.<br />
For surfaces such as glass, ceramics, stone etc. a subbing layer<br />
is recommended to assist the emulsion to adhere to the<br />
surface. This is achieved either by using a varnish called Griffin<br />
(available at most art shops). Paint the Griffin varnish onto<br />
the surface and allow to fully dry. this now forms a key to<br />
which the emulsion can attached itself.<br />
Pour the emulsion onto the surface to be coated and either<br />
brush it across the surface or if the surface is perfectly flat a<br />
rubber or plastic roller can be used. Remember that ideally the<br />
temperature of the emulsion should be maintained otherwise<br />
as the emulsion cools on contact with a cold surface then you<br />
will end up with a thicker emulsion layer.<br />
Once coated either place the coated surface in a refrigerator<br />
(ensure that the fridge light has been disconnected before<br />
opening the fridge!) for about 5 minutes to allow the<br />
emulsion to harden. Alternatively a hairdryer set to cool can<br />
also successfully dry the emulsion.<br />
enlarger.<br />
Remove the focusing sheet and light proof material and make<br />
your exposure. Alternatively for enlargers with a safety glass<br />
that swings in under the lens the requirement for the black<br />
light proof material and focusing sheet is not necessary.<br />
PROCESSING<br />
The same processing sequence as for normal B&W processing<br />
is used, i.e. Fotospeed PD5 Print Developer and Fotospeed<br />
FX20 Rapid Fixer. We also advise the use of a plain water rinse<br />
and not stop bath since the acid in stop bath might attack<br />
some materials.<br />
Do not exceed 20ºC at any stage of processing.<br />
Preferably process at below 20ºC and compensate the<br />
exposure.<br />
Treat the surface with care and immerse it in a print<br />
developer. If this is not possible due to shape or size then pour<br />
developer repeatedly over the exposed surface. Try not to<br />
develop for more than 2.5 minutes. Fix for a good 4 minutes<br />
in the same manner as for development. Use hardener in the<br />
fixer where possible.<br />
Washing should be done as for a normal print remembering<br />
that non-porous surfaces will wash in 5 minutes whereas<br />
porous surfaces will need 20 minutes - but gently.<br />
Drying can be done either by allowing the object to dry<br />
naturally or with the use of a hair dryer set to cool.<br />
Only open and work in a darkroom. Red<br />
safelights for black and white photographic paper can<br />
be used. Never open in normal light. Preferably keep<br />
tub in complete darkness when not in use.<br />
EXPOSURE<br />
Place the coated surface under the enlarger and cover it with<br />
either light proof black paper or light proof black plastic. Place<br />
a piece of white paper as a focusing sheet directly on the light<br />
proof material and turn on the enlarger and make the<br />
necessary focusing alterations and stop down. Turn off the<br />
FC50<br />
Film Cleaner<br />
Ready to use<br />
Code Size<br />
FS07340<br />
125mls<br />
Fotospeed FC50 is a liquid film cleaner suitable for all emulsions. It will remove greasy finger marks leaving the<br />
film free of dust and less likely to attract dust. Apply with a soft cloth and allow to dry for 30 seconds Supplied<br />
in a 125ml can.<br />
FR10<br />
Farmers Reducer<br />
To make<br />
Code Size<br />
FS07510<br />
4x250mls<br />
Fotospeed FR10 is a silver reducer supplied as powder. Although traditionally used for B&W negatives, it can<br />
also be used for reducing the density of B&W prints or any material where silver is the base. Hypo crystals are<br />
supplied in the kit for the refixing of the image after reduction.<br />
CI10<br />
Chromium<br />
Intensifier<br />
Concentrate<br />
Code<br />
FS07610<br />
Size<br />
150mls<br />
Supplied as a single liquid concentrate designed to intensify thin B&W negatives. The negative is bleached<br />
back in CI10 (diluted 1+4 with water) and then redeveloped in PRINT developer. The image will return stronger.<br />
The process can be repeated a few times to maximise intensification. There is no need to refix the negative -<br />
just wash thoroughly.<br />
The working solution can be kept for further use at a later date.<br />
22 Fotospeed Product Range
INKJET PAPERS<br />
INKJET PAPERS<br />
A range of InkJet papers on heavy weight bases giving the image of high quality fineart<br />
prints and the feel of fineart paper. All these papers are designed for dye based inks and go<br />
through most printers<br />
Fotospeed<br />
Fotospeed<br />
Fotospeed<br />
Fotospe<br />
Fot<br />
ARTIST<br />
CLASSIC<br />
Textured Art<br />
PREMIUM<br />
GLOSS<br />
Instant Dry<br />
PREMIUM<br />
MATT<br />
Matt Paper<br />
BELGIAN<br />
LINEN<br />
Textured Linen<br />
OHP<br />
FILM<br />
Display Film<br />
Code Size Sheets<br />
FJ74110 A4 20<br />
FJ74210 A3 20<br />
FJ74211 A3+ 20<br />
FJ74310 A2 20<br />
Code Size Sheets<br />
FJ72110 A4 20<br />
FJ72210 A3 20<br />
FJ72211 A3+ 20<br />
FJ72310 A2 20<br />
Code Size Sheets<br />
FJ73110 A4 20<br />
FJ73210 A3 20<br />
FJ73211 A3+ 20<br />
FJ73310 A2 20<br />
Code Size Sheets<br />
FJ75110 A4 10<br />
FJ75210 A3 10<br />
FJ75211 A3+ 10<br />
FJ75310 A2 10<br />
Code Size Sheets<br />
FJ78110 A4 10<br />
FJ78210 A3 10<br />
A double weight InkJet<br />
paper on a 210gsm<br />
base with a receiving<br />
layer for dye based<br />
inks. The surface of the<br />
paper is textured and<br />
warmtone.<br />
A double weight InkJet<br />
paper with a receiving<br />
layer for dye based<br />
inks. The surface of<br />
the paper is smooth<br />
and glossy it is both<br />
instant dry and water<br />
resistant.<br />
A double weight InkJet<br />
paper on a 230gsm<br />
base with a receiving<br />
layer for dye based<br />
inks. The surface of the<br />
paper is smooth and<br />
deadmatt.<br />
A textured linen with a<br />
400gsm base with a<br />
receiving layer for dye<br />
based inks. The surface<br />
is that of an oil painting<br />
and the material can be<br />
mounted on stretcher<br />
bars.<br />
An OHP film with an<br />
ink receiving layer on a<br />
100µ base for the<br />
production of contact<br />
negatives for the<br />
alternative processes. Is<br />
also suitable for display<br />
film work.<br />
Product Range Fotospeed 23
tospeed<br />
Fotospeed<br />
Fotospeed<br />
Fotospeed<br />
Fotospeed<br />
Fotospeed<br />
Fotospeed<br />
Fotospeed<br />
Fotospeed<br />
Fotospeed<br />
Fotospeed<br />
Fotospeed<br />
Fotospeed<br />
Fotospeed<br />
Fotospeed<br />
25<br />
Film Processing Time/Temperature Chart<br />
Fotospeed<br />
Fotospeed<br />
Fotospeed<br />
Fotospeed<br />
Fotospeed<br />
Fotospeed<br />
Fotospeed<br />
Fotospeed<br />
Fotospeed<br />
Fotospeed<br />
Fotospeed<br />
Fotospeed<br />
Fotospee<br />
Fotos<br />
F<br />
24<br />
23<br />
22<br />
TEMPERATURE OF DEVELOPER (°C)<br />
21<br />
20<br />
19<br />
18<br />
17<br />
16<br />
1 1 2<br />
1<br />
2 2 3 4 5 6 8 10 12 14 17 20 24<br />
2<br />
28<br />
P<br />
15<br />
14<br />
13<br />
0<br />
1 1 2<br />
2<br />
3 4 5 6 8 10 12 14 17 20 24<br />
28 32<br />
DURATION OF DEVELOPMENT (minutes)<br />
FD10 Fine Grain One Shot Developer & FD30 Push Process Developer<br />
Dealer’s Address Stamp:<br />
JAY HOUSE LTD. T/A Fotospeed<br />
Fiveways House, Rudloe, Corsham, Wilts SN13 9RG. U.K.<br />
Tel: +44 (0)1225 810596 Fax: +44 (0)1225 811801<br />
e-mail: Fotospeed_UK@compuserve.com<br />
web site: http://www.Fotospeed.com (active mid March ‘99 onwards)